Masanori Kishizuka Critique by Timothy Warrington

Distinguished Japanese artist, Masanori Kishizuka, is an eclectic, new age inspiration challenging the mundanity of the real world and evoking a sense of childlike wonder through skillfully implemented pointillism. Kishizuka, with undeniable passion and talent, meticulously etches out the absurd universe we, as a collective society, live in dot by dot. Utilising an expertly combined artistic technique of brushwork paired with penwork in order to execute finite, stippled points that retain their delicate touch, Kishizuka draws his audience into his fantastical works that emanate from deep within the recesses of both his mind and his past.
 
Acting as an avant-garde, 21st century interpreter of the late 19th century modern art movement, Pointillism, Masanori Kishizuka’s eloquent work is stylistically redolent of Neo-Impressionist artists such as George Seurat and Paul Signac, albeit with an intriguing affinity to Kenny Scharf and the rebellious underground art movement, Lowbrow, which originated in the 1970’s. Kishizuka’s work is unique, refreshing and saturated with life as he narrates the surreal world surrounding him as well as the diverse interpretations of morality intrinsic to the cultures that inspire him. Kishizuka, having lived and participated in exhibitions across the world, including European galleries such as Espace Culturel Bertin Poirée in Paris as well as a solo show at Galerie Or・Terre, based in Tokyo, is an artistic force unburdened neither by geographical boundaries nor ideological limitations.  
 
Furthermore, Masanori Kishizuka’s work radiates with undeniable emotional sensitivity. Each thoughtful creative conception effortlessly communicates Kishizuka’s thorough intellect and passionate sentimentality in a manner that acts in perfect union with his remarkable artistic ability, thereby truly immortalising his work and supporting his grand status as not merely an artist but a visionary as well. In fact, one might suggest Kishizuka is a philosopher of sorts, utilising art as a medium to reverberate and evolve complex conceptual ideas initiated by notable existentialists such as Albert Camus, who is best known for his exploration of the absurdity of existence as humans are torn between finding intrinsic value in an irrational universe, an idea which he himself based on the work of nihilist Søren Kierkegaard, a theologian seen as the very root of Philosophy itself. Unlike archaic existentialist movements, however, Kishizuka’s work provides a refreshing perspective as he is capable of overcoming the treacherous path of cynicism and disillusionment to capture the range of fleeting emotions that exist within an absurd world, such as the pure joy of the heart one experiences when sharing a connection with a friend or the beauty behind a simple act of kindness.
 
One must not overlook Kishizuka’s phenomenal ability to depict intricate scenes with fluidity, captivating the audience and beautifully conducting a cohesive narrative as the eye dreamily meanders around his work of art. Comparable to Hieronymus Bosh’s The Garden of Earthly Delights or William Hogarth’s masterpiece The March of the Guards to Finchley, Kishizuka’s compositions are effervescent and truly transport his spectators into the scenes he expertly conceives, such as in his hallucinatory and vivacious pieces Precession or Funeral River. Ultimately, it is with great expertise that Masanori Kishizuka etches his worldly visions to life as he paves his own way in the Arts with an eloquence comparable to the works of Dubuffet, thus embodying the essence of Art Brut and its intense appeal.