Full description from the venue
Gana Art Namsan presents Till we have faces , a two-person exhibition featuring Eddie Kang (b. 1980) and Aichi-based Japanese artist Naoki Koide (b. 1968). This exhibition marks the first time these two artists, who have shared a close bond for nearly two decades, are coming together. Under the shared themes of guardians and spiritual beings, the exhibition brings together a body of works encompassing both painting and ceramic sculpture. The exhibition title is borrowed from C.S. Lewis’s novel of the same name, symbolizing a pilgrimage to shed self-deception and fear in order to confront one’s true self. The two artists willingly acknowledge that they are not perfect creators but vulnerable beings before the canvas and clay. Through this, they wish to share with the audience their quiet journey toward healing and self-discovery, even while embracing inner anxieties.
Naoki Koide unravels his unique world where humans, spirits, animals, and nature are uncannily intertwined. The ceramic making process, in which results vary depending on the temperature of the fire and the kiln environment, aligns with Koide’s attitude of acknowledging and accepting human helplessness in the face of life’s uncontrollable uncertainties. Facing family deaths and life’s turning points, he seeks spiritual comfort by drawing and sculpting eternally enduring otherworldly creatures and traditional guardian spirits like Komainu (lion-dogs). Responding to this, Eddie Kang sheds light on the beings that have protected him at every turn in life through his new Props series. For him, the act of creating characters is not merely a fictional narrative. The characters on the canvas are, in fact, “other faces of himself” discovered during his fierce process of seeking his true self. To these inner fragments such as the Yeti, Rag born from an attachment pillow, and Loveless based on his actual pet dog, the artist has bestowed custom-designed shaped frames containing distinct symbols. He erected white walls and shields as defense mechanisms, while also incorporating mobile houses with legs, spaceships, and a chapel representing a pilgrim’s space for constant wayfinding. These frames go beyond being mere sanctuaries; they visualize the will to protect a vulnerable self while continuing life despite its deficiencies.
Notably, this exhibition highlights the collaboration between the two artists, who deal with different mediums of sculpture and painting but share a warm, benevolent worldview of a world without malice. The exhibition goes beyond showcasing their independent artistic worlds; it captures the result of a much closer collaboration where their materials and languages physically intersect. We hope that the affectionate consolation and healing energy offered by these guardian spirits, born from the most honest human vulnerabilities, will deeply resonate with our audience living in an era of anxiety and loss.