Unit2 contexts 

THE WEB ABOVE OUR LIVES, 2023
bronze, rope

solo exhibition: Signs of Life

Galerie Templon, New York, USA

photo by Charles Roussel

Chiharu Shiota's artwork "The Web Above Our Lives" invites us to engage in a critical reflection on the intricate web of connections that shape our existence. Through an analysis of the artwork, we can delve into the artist's intent, the use of symbolism, and the broader implications it holds.

"The Web Above Our Lives" is a captivating installation that consists of a vast network of red yarn suspended from the ceiling, entangling various personal objects within its web-like structure. This visual representation immediately evokes a sense of interconnectedness and complexity. The red yarn, with its vibrant color, carries symbolic weight, alluding to the intricate threads that bind our lives together.

One of the key elements to consider in this artwork is the use of personal objects. These items, such as keys, clothing, or books, represent individual experiences and memories. By incorporating them into the web, Shiota suggests that our personal histories are intertwined with the collective human experience. It prompts viewers to contemplate the ways in which our lives intersect and how our individual stories contribute to the larger fabric of society.

The suspended nature of the installation creates a sense of tension and weightlessness. The web seems to float in space, evoking a feeling of fragility and vulnerability. This aspect of the artwork invites critical reflection on the transient nature of human existence and the impermanence of our connections. It prompts us to consider how our relationships, experiences, and even our physical presence in the world are fleeting, just like the delicate threads of the web.

Moreover, the immersive nature of the installation encourages viewers to engage with the artwork on a sensory level. As we navigate through the web, we become aware of the intricate patterns and the density of connections that surround us. This experience can evoke feelings of both comfort and entrapment, highlighting the complex nature of human relationships. It prompts us to reflect on the ways in which our connections with others can bring support, but also create entanglements and constraints.

"The Web Above Our Lives" also serves as a metaphorical representation of the digital age and the interconnectedness fostered by technology. In an era where social media and virtual networks dominate our lives, the artwork raises critical questions about the nature of these connections. It prompts us to consider the authenticity and depth of our virtual relationships and the potential impact they have on our personal lives and well-being.

In conclusion, Chiharu Shiota's artwork "The Web Above Our Lives" provokes critical reflection on the complex web of connections that shape our existence. Through the use of symbolism, immersive experience, and the incorporation of personal objects, the artist prompts viewers to contemplate the interplay between individual experiences and the collective human story. The artwork also raises questions about the transient nature of our connections, the impact of technology on our relationships, and the delicate balance between support and constraint. It serves as a poignant reminder of the intricate tapestry of life and the significance of our interconnectedness in the world.

Gray Tree（1911）Trees and buildings are often depicted in his Cubist-style works, but he minimised the individuality and independence of each object, painting them in a universal shape. Mondrian also limited the colours in his paintings during this period, mostly to the browns, greys and ochres advocated by the Cubists. He also studied the usual Cubist way of composition, filling the centre of the painting with large blocks of colour concentrated in the centre of the painting, leaving the canvas surrounded by white.

Piet Mondrian's painting "The Gray Tree" marks a significant moment in the development of his artistic style. The painting depicts a tree reduced to its essential lines and shapes, with the background merging seamlessly with the branches of the tree. This departure from traditional representational painting raises important questions about the relationship between art and reality.

Mondrian's work suggests that there is still a connection between painting and reality, but he has begun to sever it. The painting shows that the essence of the subject can be captured through simplified forms and a limited color palette. The artist's shift towards abstraction in "The Gray Tree" suggests that a direct representation of the subject is no longer necessary for the painting to reflect reality.

The merging of the branches of the tree with the background blurs the line between subject and environment. The sense of continuity between the trees and the background is also suggestive of a deeper connection between nature and art. Mondrian's work suggests that the subject is not separate from its surroundings but is rather an integral part of them.

The horizontal extension of the curve of the tree's branches as they extend upwards represents a departure from traditional notions of perspective. This departure highlights the subjective interpretation of the subject, which is central to Mondrian's artistic style. The painting is an expression of the artist's unique vision of the world, rather than a direct reflection of reality.

Overall, "The Gray Tree" represents a pivotal moment in Mondrian's artistic development and raises important questions about the relationship between art and reality. The painting shows that reality can be represented through abstraction and suggests that the subject is an integral part of its surroundings. The work highlights the importance of subjective interpretation in the artistic process and demonstrates Mondrian's unique artistic vision.

Trees 2015

Singapore Art Museum (SAM) at 8Q

Imaginarium / a Voyage of Big Ideas

14 March - 19 July 2015



Artist Takashi Kuribayashi found a tree that had been chopped down to make way for redevelopment. To create this installation, he put the cut-up sections of the tree trunk into glass boxes. The remaining glass boxes are filled with leaves and small plants that the artist found in Singapore, so that when viewed from a certain angle, the glass boxes collectively form the image of a whole tree. The image of a tree contained within glass boxes is also a reference to how nature often exists in very controlled environments in cities such as Singapore. Over time, the sections of the tree trunk will decay, and in the process give life to new organisms and ecosystems, so that each glass box will hold a tiny new world of its own.
Takashi Kuribayashi's work "Trees 2015" presents a fascinating exploration of the theme of trees and their symbolic significance. Through a critical thinking analysis, we can delve deeper into the artist's intentions, techniques, and the broader implications of this body of work.

Firstly, it is evident that Kuribayashi's focus on trees as a subject matter holds symbolic weight. Trees have long been associated with various symbolic meanings across cultures, representing growth, life, strength, and interconnectedness. By selecting trees as the central theme, Kuribayashi invites viewers to contemplate these universal concepts and their relevance to our lives.

In "Trees 2015," Kuribayashi employs a unique artistic style that combines abstraction and realism. The artist's use of vibrant colors and bold brushstrokes creates a sense of dynamism and energy within the composition. This approach not only captures the visual essence of the trees but also conveys an emotional and expressive quality. By blending abstraction and realism, Kuribayashi challenges traditional representations of trees and encourages viewers to see them through a new lens.

Furthermore, the juxtaposition of different tree species and their varying forms and sizes in the artwork prompts reflection on diversity and interconnectedness. Each tree seems to have its own personality, standing tall and rooted in its unique existence. This portrayal resonates with broader themes of individuality and the interconnected nature of all living beings. Through the depiction of diverse trees, Kuribayashi may be suggesting that while we are distinct individuals, we are also part of a greater whole, interdependent and connected to one another.

The composition and arrangement of the trees in the artwork also contribute to its critical interpretation. Kuribayashi intentionally positions the trees in a way that creates a harmonious and balanced composition. This careful arrangement may symbolize the importance of harmony and balance in our own lives and in our relationship with nature. It encourages viewers to reflect on their own connection to the natural world and consider how they can strive for a more harmonious existence.

Moreover, "Trees 2015" prompts us to contemplate the passage of time and the cyclical nature of life. Trees, with their slow growth and enduring presence, can be seen as symbols of longevity and resilience. Kuribayashi's representation of trees at various stages of growth and in different seasons serves as a reminder of the ever-changing nature of life and the interconnectedness of past, present, and future.

In conclusion, Takashi Kuribayashi's artwork "Trees 2015" offers a rich and thought-provoking exploration of the symbolic significance of trees. Through his unique artistic style, deliberate composition, and the incorporation of diverse tree species, Kuribayashi prompts viewers to reflect on themes of interconnectedness, diversity, harmony, and the cyclical nature of life. This critical analysis invites viewers to engage with the artwork on a deeper level and contemplate its broader implications in relation to our own lives and the natural world.

His father, Sir Sydney Kentridge, was Nelson Mandela's defence counsel from 1958-61. When the four-year-old Kentridge heard his father refer to the 'treason trial', he thought he was talking about 'trees and tiles' and immediately I immediately made the connection between the trees in the garden and the tiled tabletop at home. Perhaps coincidentally - or unconsciously - Kentridge now chooses to carve trees in the form of tiled surfaces. More notably, these paintings simultaneously thrust the tree into judgment. The trees of knowledge that discriminate between good and evil are not pure and immaculate, neither the trees themselves nor the forest they comprise. In one of the paintings you can also see the phrase: shrapnel in the woods. As with the 'treason trial', the obscurity here is only contextual. The phrase comes from the German woodlands: during the Second World War, bombs exploded and left so much shrapnel embedded in the trees that to this day, special care is required when cutting down old trees.

"But there is a tree, one of many, / And a spot in the field I once knew, / That speaks of something that has passed away": these immortal lines by Wordsworth both move and embarrass contemporary readers, who can't say why. Art can only reveal the form of personal experience, not convey its content. The private, unique, now 'gone' ...... confronts this unique tree, and whatever it initially felt can now only be glimpsed from afar across an impenetrable distance. One of the rarest things about Kentridge's art is that no matter which page you turn, he is there, and his work is never purely personal. The artist moves from project to project, navigating the various mediums with ease, constantly adapting the imagery he has built up over the years while collaborating with other creators, each new challenge bringing him growth. One of Kentridge's next projects is to create a film set for Schubert's Winterreise. It will be interesting to see how this artist-wanderer will accomplish this task; for example, how he will make the lime tree in the piece move, knowing that the word love is carved into the trunk and that it is always "death" that is swaying among the leaves.

The excerpt discusses the connection between William Kentridge's artwork and the trees he carves. The trees, which serve as a recurring motif in his paintings, are not presented as pristine or unblemished but are instead put on trial. The trees of knowledge, which represent the ability to distinguish good from evil, are not depicted as entirely pure. This suggests that Kentridge's artwork seeks to question and challenge conventional notions of morality and knowledge.

The reference to Wordsworth's poem highlights the importance of personal experience in art. While art can capture the form of an experience, it cannot fully convey its content. The unique and private nature of personal experience is something that cannot be fully shared with others. Kentridge's artwork is similarly personal, but it is also never purely so. He is always exploring new mediums and collaborating with others, adapting his imagery and evolving as an artist.

In this way, Kentridge's art embodies critical thinking and analysis. It challenges conventional notions of morality and knowledge, while also recognizing the limitations of personal experience in conveying meaning to others. By constantly pushing himself and adapting his art, he demonstrates the importance of growth and evolution in the creative process. Ultimately, Kentridge's artwork serves as a reminder that art can not only capture personal experience but can also challenge and transform our understanding of the world around us.