REVIEWS
Gosha´s Painting
Gosha’s art leads us to the intersection of two cultures: on one hand, her technique and
theme is deeply rooted in her home, India. On the other hand, she has a strong foundation
of western culture in her.
Gosha is the daughter of an Indian father and a Polish mother. She grew up in Kashmir and
moved to Tokyo when she was 19 years of age, where she studied art. For the past 10
years, she has been living in Hamburg.
She has inherited her love and joy of art from her parents, who were both artists. Her
unique origin allows her to blend both the traditions of her roots as well as her in depth
experiences of both Japan and Europe.
Gosha has rapidly managed to gain acclaim in this country through her paintings, countless
exhibitions and shows. She has done this without the usual stupidity and falseness of
attention seeking which is inherent in the current world of art. Far removed from all trends,
she is passionately and devotedly working towards the search for harmony, the origin of the
cosmos and through this, of all life.
The circle of life and the eternal play of life and death is what inspires the artist and gives her
the impulse to create her work. As a dry leaf gradually withers, dies and falls to the ground,
a new one rises and comes to life. This is portrayed so simply and subtly that nobody need
argue. There is no manipulation and no ideology – only the unprejudiced view of everything
that exists in nature.
Furthermore, it gives us a symbolic view of the weight of the globe being carried by a simple
leaf. Weight, dynamics and inertia and the speed of change are all suspended for a moment:
the leaf carries and holds the entire cosmos, including us. It harmonises the opposites. This is
portrayed with a broad brush in clear, dynamic strokes. One could think the means used are
modest, yet this modesty is the result of intense concentration and contemplative silence.
The lines are joined to make distinctly outlined forms of extreme reduction and simplicity.
This state of contemplation transfers itself onto the object through the medium of painting.
Leaves, flowers, floral stems, garlands and human beings are reduced to the characteristics of
their countenance. With large eyes, these female faces look at us with a hint of melancholy,
as though they know of all the secrets in the word, all the sorrow and pain, stemming from
a deep knowledge of the inconsistency of being.
They watch our doings with soft resignation, almost with an otherworldly air. It seems as
though they are saying: it doesn’t matter what you are doing and thinking, reality is stronger
than any imagination, the truth lies with reality and not in the pictures that you make of it.
This, I feel, is a modest approach. It also gives us an unobstructed view of the passion driving
this artist.
The minimalist technique concentrating on simple lines is supported by the choice of colour.
Black and white or black on brick red are the predominant colours in Gosha‘ s work. Later
works of plants and leaves are also mostly monochromatic. Colour is applied like a paste.
Then spatula and scratching techniques provide structure.
As much as the monochromatic work gives us an ethereal feeling of calm and sovereign
spirituality, so do the earlier, more colourful miniatures speak of an uncomplicated, open
and experimental creativity.
Between an increasing release of concreteness and completely informal abstraction, we see
lines and spirals, floral depictions dancing in, with and alongside each other, to create a joyful
play of colours expressing sensuality and passion.
The simple joy of painting wins over the otherwise stern observance of Gosha‘ s creative
power.
Dear Gosha, we welcome you and your art into our museum. We thank you for coming,
for your work and for your professional preparation of this exhibition and we wish you
many visitors in warm and interesting conversation with each other, with you and in a silent
dialogue with your paintings.
Perhaps they will find things long ago forgotten: the image of humanity and the desire of
colour and art. Art is deed, which happens for mankind.
Bernd M. Kraske , Art Historian, Museum Director
Museum Rade am Schloss Reinbek
7. June 1998, Hamburg
translation by Nitya Ramchandran
....................................................................................................................................................................................
Gosha
„I have my eyes, I have my hands and I have my sense – these three come together in total
harmony.“
With these words Gosha describes her artistic engagement in oil and water colour paintings,
in printed media, in woodcuts, in charcoal and ink drawings and in painted glass. Artistic
emotion becomes criterion for her work.
Gosha’s talent has been encouraged by Japanese artists and teachers at Jyoshibi College of
Fine Arts in Tokio. Here Gosha has experienced old and new technics of wood-cut and
lithographie and has found her own style and individual expression.
All works, that Gosha produces, reflect her principles of artistic engagement: “If you are in a
deep silence with yourself, the painting flows.” Gosha is experiencing artistic work as a
flowing process just as life.
The quietness, the sublimity as well as a consciously chosen simplification are the
characteristics that transmit and radiate Gosha’s works.
Around the year 1980 Gosha produces paintings that concentrate on the female face and
the female figure. In these pictures Gosha accentuates the line and the proportion. With
hard and soft contours she emphasizes the outlines, with flowing and curved lines and
smooth strokes she works out the form. Gosha prefers black colour on off-white painting
background, occasionally she uses colour intensively – just depending on her mood. In every
picture Gosha lets her sensuality flow. Gosha selects and sets colours following her
emotions. The warm coloration of red and orange tones, for example, is full of sensuality
and above all the dark contours form the face or the figure intensively pure and in fluid
linearity.
In most figural pictures Gosha transmits her sensual emotions. Her portraits never show a
certain person but always a certain expression and are therefore a symbol for the
conditions of life. Gosha’s figures stand for a meaningful expression such as love or
pensiveness.
Around 1998 Gosha creates new motives and themes in her art, sometimes with a tendency
to abstraction. There are, for example, oil-paintings which show fresh and faded leaves in
circulation. They are symbolic for living and dying, for the natural cycle of life and death.
Nature is a very important impulse for Gosha’s work, because in nature, as Gosha says, you
can feel and touch life. Nature never lies and has always been a reliable teacher for her.
In the last five years Gosha experiences the painting of glass such as small and big wind-lights.
Here too, she uses colours as an expression of mood and atmosphere. Gosha mixes and
creates many different colours. She applies them in tiny, flowing strokes to the glass. Gosha
selects every colour with care while painting each glass with letters, symbols and little
depictions or whatever flows out of her hand and her mind. No glass is alike the other. Each
glass is an unique, beautiful and heart-warming treasure.
Line and colour are the criterions with which Gosha expresses her mind and her feelings.
Her artistic mission is, to bring together in harmony what she sees and what she feels.
Gosha’s art cannot be classified in stylistic terms. Her work focuses on an individually
experienced moment of life.
The motor of her artistic work is her sense and her sensuality, sometimes her wisdom. All
of this emphasize the poetry of her paintings. Gosha puts her artistic work into the circle of
life and nature and invites the recipient to do so too.
Gosha can be visited in her lovely atelier in Eppendorf. Here she lives with her son Toshi and
her cat Kama. Gosha likes to meet people, loves to discuss art and life and warmly welcomes
every visitor.
Linde Rohardt,
Art Historian, Kunsthalle Hamburg
January 2005, Hamburg
....................................................................................................................................................................................
Gosha´s Painting
Gosha’s art leads us to the intersection of two cultures: on one hand, her technique and
theme is deeply rooted in her home, India. On the other hand, she has a strong foundation
of western culture in her.
Gosha is the daughter of an Indian father and a Polish mother. She grew up in Kashmir and
moved to Tokyo when she was 19 years of age, where she studied art. For the past 10
years, she has been living in Hamburg.
She has inherited her love and joy of art from her parents, who were both artists. Her
unique origin allows her to blend both the traditions of her roots as well as her in depth
experiences of both Japan and Europe.
Gosha has rapidly managed to gain acclaim in this country through her paintings, countless
exhibitions and shows. She has done this without the usual stupidity and falseness of
attention seeking which is inherent in the current world of art. Far removed from all trends,
she is passionately and devotedly working towards the search for harmony, the origin of the
cosmos and through this, of all life.
The circle of life and the eternal play of life and death is what inspires the artist and gives her
the impulse to create her work. As a dry leaf gradually withers, dies and falls to the ground,
a new one rises and comes to life. This is portrayed so simply and subtly that nobody need
argue. There is no manipulation and no ideology – only the unprejudiced view of everything
that exists in nature.
Furthermore, it gives us a symbolic view of the weight of the globe being carried by a simple
leaf. Weight, dynamics and inertia and the speed of change are all suspended for a moment:
the leaf carries and holds the entire cosmos, including us. It harmonises the opposites. This is
portrayed with a broad brush in clear, dynamic strokes. One could think the means used are
modest, yet this modesty is the result of intense concentration and contemplative silence.
The lines are joined to make distinctly outlined forms of extreme reduction and simplicity.
This state of contemplation transfers itself onto the object through the medium of painting.
Leaves, flowers, floral stems, garlands and human beings are reduced to the characteristics of
their countenance. With large eyes, these female faces look at us with a hint of melancholy,
as though they know of all the secrets in the word, all the sorrow and pain, stemming from
a deep knowledge of the inconsistency of being.
They watch our doings with soft resignation, almost with an otherworldly air. It seems as
though they are saying: it doesn’t matter what you are doing and thinking, reality is stronger
than any imagination, the truth lies with reality and not in the pictures that you make of it.
This, I feel, is a modest approach. It also gives us an unobstructed view of the passion driving
this artist.
The minimalist technique concentrating on simple lines is supported by the choice of colour.
Black and white or black on brick red are the predominant colours in Gosha‘ s work. Later
works of plants and leaves are also mostly monochromatic. Colour is applied like a paste.
Then spatula and scratching techniques provide structure.
As much as the monochromatic work gives us an ethereal feeling of calm and sovereign
spirituality, so do the earlier, more colourful miniatures speak of an uncomplicated, open
and experimental creativity.
Between an increasing release of concreteness and completely informal abstraction, we see
lines and spirals, floral depictions dancing in, with and alongside each other, to create a joyful
play of colours expressing sensuality and passion.
The simple joy of painting wins over the otherwise stern observance of Gosha‘ s creative
power.
Dear Gosha, we welcome you and your art into our museum. We thank you for coming,
for your work and for your professional preparation of this exhibition and we wish you
many visitors in warm and interesting conversation with each other, with you and in a silent
dialogue with your paintings.
Perhaps they will find things long ago forgotten: the image of humanity and the desire of
colour and art. Art is deed, which happens for mankind.
Bernd M. Kraske , Art Historian, Museum Director
Museum Rade am Schloss Reinbek
7. June 1998, Hamburg
translation by Nitya Ramchandran
....................................................................................................................................................................................
Gosha
„I have my eyes, I have my hands and I have my sense – these three come together in total
harmony.“
With these words Gosha describes her artistic engagement in oil and water colour paintings,
in printed media, in woodcuts, in charcoal and ink drawings and in painted glass. Artistic
emotion becomes criterion for her work.
Gosha’s talent has been encouraged by Japanese artists and teachers at Jyoshibi College of
Fine Arts in Tokio. Here Gosha has experienced old and new technics of wood-cut and
lithographie and has found her own style and individual expression.
All works, that Gosha produces, reflect her principles of artistic engagement: “If you are in a
deep silence with yourself, the painting flows.” Gosha is experiencing artistic work as a
flowing process just as life.
The quietness, the sublimity as well as a consciously chosen simplification are the
characteristics that transmit and radiate Gosha’s works.
Around the year 1980 Gosha produces paintings that concentrate on the female face and
the female figure. In these pictures Gosha accentuates the line and the proportion. With
hard and soft contours she emphasizes the outlines, with flowing and curved lines and
smooth strokes she works out the form. Gosha prefers black colour on off-white painting
background, occasionally she uses colour intensively – just depending on her mood. In every
picture Gosha lets her sensuality flow. Gosha selects and sets colours following her
emotions. The warm coloration of red and orange tones, for example, is full of sensuality
and above all the dark contours form the face or the figure intensively pure and in fluid
linearity.
In most figural pictures Gosha transmits her sensual emotions. Her portraits never show a
certain person but always a certain expression and are therefore a symbol for the
conditions of life. Gosha’s figures stand for a meaningful expression such as love or
pensiveness.
Around 1998 Gosha creates new motives and themes in her art, sometimes with a tendency
to abstraction. There are, for example, oil-paintings which show fresh and faded leaves in
circulation. They are symbolic for living and dying, for the natural cycle of life and death.
Nature is a very important impulse for Gosha’s work, because in nature, as Gosha says, you
can feel and touch life. Nature never lies and has always been a reliable teacher for her.
In the last five years Gosha experiences the painting of glass such as small and big wind-lights.
Here too, she uses colours as an expression of mood and atmosphere. Gosha mixes and
creates many different colours. She applies them in tiny, flowing strokes to the glass. Gosha
selects every colour with care while painting each glass with letters, symbols and little
depictions or whatever flows out of her hand and her mind. No glass is alike the other. Each
glass is an unique, beautiful and heart-warming treasure.
Line and colour are the criterions with which Gosha expresses her mind and her feelings.
Her artistic mission is, to bring together in harmony what she sees and what she feels.
Gosha’s art cannot be classified in stylistic terms. Her work focuses on an individually
experienced moment of life.
The motor of her artistic work is her sense and her sensuality, sometimes her wisdom. All
of this emphasize the poetry of her paintings. Gosha puts her artistic work into the circle of
life and nature and invites the recipient to do so too.
Gosha can be visited in her lovely atelier in Eppendorf. Here she lives with her son Toshi and
her cat Kama. Gosha likes to meet people, loves to discuss art and life and warmly welcomes
every visitor.
Linde Rohardt,
Art Historian, Kunsthalle Hamburg
January 2005, Hamburg
....................................................................................................................................................................................
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RÉSUMÉ
CONTACT
REVIEWS
PUBLICITY
DEUTSCH
| WHAT´S NEW? |
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LINKS
| ©1980 - 2012 Gosha Nagashima Website designed and created by Gosha |