Outdoors

LYDIA OKUMURA “THE DISAPPEARANCE OF THE PERSPECTIVE”

August 29, 2015

A garden project by Lydia Okumura

Norfolk, Connecticut

I don’t believe in religion at all, but I do believe… that our consciousness continues, we don’t die. It’s like taking a train from Grand Central to Connecticut, we get off in Connecticut and it’s something else.

~ Agnes Martin

We are delighted to announce a new outdoor project by Brazilian born, New York based artist Lydia Okumura to take place in Norfolk, Connecticut this summer.

The project is titled The Disappearance of the Perspective and based on a group of earth pieces Okumura realized in 1972 in Brazil.

Born in São Paulo in 1948 to a Japanese immigrant family, Okumura attended both Japanese and Brazilian schools – merging two very distinct cultural influences that resonate throughout her work. Okumura’s interest in art was awakened by her father Takashi – a prominent calligrapher, while the Japanese art magazine “Bijutsu Techou” influenced her ideas on the avant-garde international movements of the 1960s and 70s, such as Concept Art, Minimalism, Land Art and Art Povera.

Lydia Okumura developed a strong interest in collective practice with her Brazilian peers Genilson Soares and Francisco Inarra. In 1972, the group Equipe3 was invited to create Land Art interventions at the garden of the Museum of Contemporary Art, Campinas, São Paulo. It was here that Lydia Okumura first created Relocation of the Cube, The Disappearance of the Perspective/ Desaparecimento da Perspectiva and Positive/Negative – artworks of optical dialect, resonating intriguingly with the Robert Smithson’s Site/Nonsite interventions of the time.

These three pieces will be realized again this summer, as well as a new piece titled “Five Sides” (2015).

“I remember well the joy in making the garden pieces at the time, and I wanted to be clear and simple as to the concept and execution, and it was all about perception. They are geometric shapes or lines in dialogue with nature, being open for improvising with circumstances, space, time and material. I like it when things are visually clear.”

(Lydia Okumura, New York, 2015)

In 1974, Okumura was granted a four-year scholarship at the Pratt Graphics Center in New York. Few years later, during the São Paulo Biennale of 1977 she was urged to establish this move to New York by American art critic, Gregory Battcock. In the following years, Okumura exhibited some of her most prominent paintings and installations in various galleries, institutions and collectors’ homes in New York City and São Paulo. She currently works and resides in New York City.

Please contact the gallery for inquiries and visiting information.