Artist | Ryunosuke Okazaki
Curator | Zhu Tong
Exhibition Dates | Jan 11 (Sat), 2025 – Feb 19 (Wed), 2025
Location | 20/F, Landmark South, 39 Yip Kan Street, Wong Chuk Hang, Hong Kong
Media Preview | Jan 11 (Sat) 2025, 3 – 5 pm
Opening Reception | Jan 11 (Sat) 2025, 5 – 7 pm
Artist Talk | Jan 11 (Sat) 2025, 6:30 – 7 pm

Tang Contemporary Art is honored to announce the solo exhibition of Japanese contemporary artist Ryunosuke Okazaki will be opening on January 11, 2025, at Wong Chuk Hang space in Hong Kong. Ryunosuke Okazaki's works are not merely a re-encoding of traditional culture; they represent a dialogue between the past and the present, cultural memory and material innovation. The surface texture of his practice reflects the complex, spiral patterns of Jomon ceramics, while beneath this texture lies a shared cultural gene imprinted in the hearts of all who exist under the influence of East Asian societies and civilizations.

The theme of this exhibition, "Oracle," is derived from ancient religions and myths, where deities convey revelations to humanity in various forms. In Japanese culture, oracles have deep roots. The "Nihon Shoki" and "Kojiki" document numerous stories of deities delivering oracles to humans, revealing divine intentions that directly influenced political, social, and cultural developments. For example, the myth of Amaterasu opening the Amano-Iwato symbolizes the revival of light and enlightenment. In Okazaki's artistic philosophy, these oracles are not merely historical symbols but are living entities imbued with contemporary spiritual significance. Existentialists like Heidegger and Sartre argue that human existence is an impermanent and meaningless process; however, through personal choices and actions, meaning can be created. In Okazaki's works, "oracle" ceases to symbolize absolute truth; instead, it becomes an unsolved puzzle filled with potentiality. He reflects on the philosophical propositions behind oracles through artistic language, exploring how humanity understands and responds to these revelations in the modern world.

Where there are divine oracles, there must be a human response as "citizens of the gods." "Prayer" serves as another religious form of responding to oracles. In the artist's works, "prayer" embodies Jomon prayer practices, Zen meditation, and a peace prayer for his hometown Hiroshima—a philosophy of existence and a call to life. Eastern theology and philosophy enable individuals of different races, colors, and surnames to reach a consensus at critical moments. Simultaneously, Okazaki attempts to reflect the profound connection between human creation and the natural world through intricate textures, indicating that our understanding of time, technology, and culture can be fluid. D.T. Suzuki points out in "Zen and Japanese Culture" that Zen prayer aims to dissolve self-centeredness through contemplation to achieve harmony with cosmic life. The Zen principle of "non-action" is manifested in the uncertain forms and ever-changing material states of Okazaki's works. Viewers must enter a meditative state when engaging with his pieces to coexist with "things" and perceive the endless cycle of life. Through Hiroshima's peace prayers, Jomon nature worship, and Zen spiritual pursuits, Ryunosuke Okazaki traces a philosophy and aesthetics that transcend suffering and return to the essence of life. His works integrate historical memory, cultural tradition, and contemporary philosophical views on material life, inviting viewers to traverse between materiality and spirituality while experiencing the eternal "prayer for life" and profound connections with all beings.

Okazaki's exploration of materials is not only a formal experiment but also conveys a perception of the material world to viewers. His attitude toward materials and their application aligns with discussions by theorists like Jane Bennett and Bruno Latour, who understand "materiality" as an active force—a co-creator of meaning and experience. In this sense, Okazaki's creations are not merely about altering traditional patterns but exploring how materials themselves mediate human experiences. The materials in his hands are not inert or passive objects; they participate in visual experiences from a non-anthropocentric perspective.

In parallel with Jane Bennett's views, Herman T.T. argues that technology is not just a tool; it shapes human existence while also defining our relationship with the world. Through the interaction between materials and technology, Okazaki does not simply showcase cold technology but seeks possibilities for symbiosis between humanity and technology. By combining traditional materials with modern techniques, he imbues material existence with both historical resonance and future potential. This dual understanding of technology and materiality resonates with modern philosophical concerns regarding human-technology relationships. Although there is a stark contrast between the simplicity of Jomon pottery patterns and Okazaki's precise works infused with technological sophistication, he does not view these elements as opposing forces but allows them to coexist harmoniously.

Okazaki's use of materials is closely related to reflections on "temporality." Philosopher Bernard Stiegler posits that technology is not merely an external tool; it is deeply embedded in human survival practices and cognitive processes—becoming part of human history and culture. Okazaki’s creations vividly express the relationship between technology and materiality through meticulous exploration of materials. By evolving materials and varying forms, his works become containers of time that carry interwoven pasts, presents, and futures. The sedimentation of materials and transformation of forms reflect not only tangible expressions of technological change but also remind us that under technological impetus, the boundaries between materiality and time are gradually blurring.

Whether divine or humanistic, material or non-humanistic, everything ultimately converges into an amalgamation within a multidimensional flow across time. The world is filled with deities; they exist everywhere—even within every leaf or drop of water. Art becomes a medium connecting us to the divine realm; as seen in Shinto rituals in Japan where people invoke deities through prayer, dance, and offerings. As it is said: “The way that can be spoken is not the eternal way; the name that can be named is not the eternal name.” The true meaning of oracle in this exhibition may lie in its ineffable aspects.


Zhu Tong
December 19, 2024