masaki nakao







With the title he gave his work "Syncret", Nakao Masaki sends us directly back into
Antiquity, directly back into Antiquity, but let there be no mistake about it, this work is
totally modern, minimalist, even avant-gardist, but thanks to its ambiguity deliberate
or not, it can also be read in different ways with varying meanings, be they linguistic,
cultural, religious, psychological and physical…We feel that this last vision is closer
to the essence of this work that, like in quantum physics, attempts to combine
materialistic and idealistic philosophies, the conformity of mind and matter. It is
therefore a work with an outstanding aesthetic and poetic range.

The visual vibration engendered by this installation clearly shows that a work of art
is not merely animated volumes due to a surface approach. It deals with a vibration
of transparent and luminous masses faced with the environment that the artist absorbs
as a common part, imbued with a strong density, and that allows the viewer to find
his way once more towards the visible and the intellect. The work offers a new vision,
an encounter between the artist and his world, with the imaginary in appearance,
whereas the symbolical reality is accomplished via the harmonious  center providing
the key to the spatial rhythm. We find both interdependency and singularity in each
constituent element of this luminous polyester, acrylic and nylon sculpture, that is part
of the whole. That is also what differentiates Nakao Masaki from other artists like
Carl André, or Donald Judd…. who have preferred to opt for a simplified modularity,
raw materials, a flat surface, whereas the Japanese artist insists on the correlation
between the elements, their inner organic links, and an extreme precision in the
execution. It is a question of a gestural signal that, in its turn, thanks to the result
obtained on the surface, perpetuates the play of multicolored light, creating another
link between the work and the environment that reveals it. The optical element,
the use of pastellised colors in their turn transform the given space, pre-determined,
freed from false appearances, and the elements, attached or detached from each
other, which allow the shapes to escape from resembling the rest of the imaginary
in the surrounding space.

Text : Ante Glibata, 2007.Oct. / for the Exhibition "Gongzhen 共震- Sport in Art"
in Museum of Contemporary Art, Shanghai (MOCA)