LURF GALLERY is pleased to announce the holding of Yuka Yoneyama's solo exhibition "●REC" on the first floor.
Starting from real-life landscapes and objects, Yoneyama Yuka creates paintings that are reconstructed through the process of memory and recording. In this exhibition, "●REC," she will present new works that capture the series of actions of research, photography, reconstruction, depiction, and exhibition with the feeling of "recording."

The motifs depicted in this exhibition are based on materials and shapes that the artist himself is strongly drawn to, and the intersection of a delicate sensitivity directed towards the subject and abstract composition creates a visual experience that moves back and forth between the concrete and the abstract. Furthermore, the paintings are characterized by an inorganic, sharp red hue and the flickering layered gradations that appear on top of it. The tranquil sound of the red and the hint of layers give the entire work a deep resonance and tension.

Recording and playback, observation and construction, matter and sensation. Please come and see the pictorial space that emerges from this interplay.

The exhibition will run from Friday, September 5th to Monday, October 6th, 2025.

Exhibition overview

Yuka Yoneyama Solo Exhibition "●REC"

Dates｜September 5th (Friday) - October 6th (Monday), 2025
Venue | LURF GALLERY 1F
Time｜11:00 - 19:00
Address: Roob1, 28-13 Sarugakucho, Shibuya-ku, Tokyo 150-0033
Cooperation: ALPHA ET OMEGA

Opening Reception
Thursday, September 4, 2025 18:00 - 20:00
*No reservation required. Free admission. *The artist will be present.

Inquiries about works: https://lurfgallery.com/pages/contact

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Statement

"●REC"

When the support and medium become one painting, it is made up of various elements, such as the composition and structure of the picture, the characteristics of the chosen motif, research and interpretation, color, abstraction, technique and materials, etc. The title of this exhibition, "●REC," comes from the sense of a continuous recording that takes place throughout the process, from the beginning of production to the completion of the work and exhibition.
All of the landscapes and objects depicted in my works are actually landscapes and objects I have traveled to and from. I record them in my memory by seeing and touching them, then photograph and video them on my smartphone. From there, I select and discard information and reconstruct the visuals using digital media. This information is then recorded on canvas, and the moment I photograph the painting as it will appear when hung on the wall is recorded, creating a continuous recording-like sensation (memorizing, recording, photographing, playing back). I play back what I remember and record using different media and methods, and through this repetition, I reach the completion of the work or exhibition. Of course, the act of painting itself is the most important aspect, and this process is merely a means, not an end. However, this continuous act of using various media and methods to achieve a single goal exists as an invisible layer separate from the material layer of the painting.

-- Motifs and fetishism The motifs depicted in my works are closely related to my fetish for materials. I have a fetish for the corners of certain objects (I call myself a horn fetishist), and I often use motifs that respond to this fetish. I'm not indiscriminately attached to corners; for example, I like semi-matte, translucent, square objects. These include the cross-section of yokan, bar soap, acrylic sheets, and pre-baked mochi. As a child, I used to stroke the transparent cube attached to my favorite hair tie. "If you cut up a Yoneyama painting, it would look like yokan" was the greatest compliment I've ever received. In fact, I feel that the canvas is both a support and an extension of the motif within the painting, a feeling reflected in the thickness of the canvas's sides.

-- Along with a fetishistic sense that responds to the characteristics of the motifs themselves, which alternate between concrete and abstract, I also focus on the states of light and shadow, the assimilation of the ground and figure due to the matching brightness of the motifs, the geometric space, and the rhythm of black and white. All of the objects and spaces I depict are real spaces that I have actually seen, and I record real-world phenomena on canvas, stripping away some information and giving the impression of a transition between concrete and abstract. The red gradation creates a concrete space, while the white, prominent shapes are arranged abstractly, replacing it with a geometrically perceived space. Areas of the same brightness, painted in a single tone, completely blend on the screen, giving birth to new shapes. Multiple objects and spaces within the screen become intertwined and form, and the non-fiction tells a slight lie.

-- The origins of this expression, possible only when painted in a single tone of cold, odorless red, lie in charcoal drawing. Even now, oil painting and drawing are two sides of the same coin, and I capture my paintings not in hue but in value, rarely using white paint. Initially, I painted in a single tone of brown, like the classic camaico technique, but gradually changed to reddish-brown and finally to bright red. Since red has always been a universal color for me, on par with black and white, the transition has been almost unconscious. Red, which evokes images of fire and passion and creates a hot image, is a cold, inorganic color to me and in my paintings. A somehow pleasant contrast, a beautiful shape as a figure. The silent, odorless red supports the expression and visuals.

-- Painting and Materials The canvas is made from a cotton and synthetic fiber blend. I've used linen for a long time, but cotton-synthetic fiber blends have a mechanical coldness to them, and the paints I use are mainly inorganic pigments, making it easier to interact with the silent paintings. The red pigment I use also has a very high refractive index of around 2.7, giving it great covering power. Strictly speaking, the greater the difference in refractive index with the oil, the greater the covering power; since oil is around 1.5 and there is little variation depending on the type, the higher the refractive index of the pigment, the greater the difference. The heavy gradation created by the high covering power and the transparent layer of oil blended with pigments, which I've studied to find a good match, provide the physical support for the painting.

Yuka Yoneyama

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Artworks

Yuka Yoneyama, Museum XXIX, Oil on canvas, 162.0×162.0cm

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Yuka Yoneyama, LAX Shuttle, Oil on canvas, 162.0×130.3cm

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Yuka Yoneyama, Museum XXVIII, Oil on canvas, 117.0×91.0cm

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Yuka Yoneyama, Museum XXX, Oil on canvas, 117.0×91.0cm

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Yuka Yoneyama, Museum XXXI, Oil on canvas, 117.0×91.0cm

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Yuka Yoneyama, Pie Shop, Oil on canvas, 91.0×72.7cm

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Yuka Yoneyama, Museum XXXII, Oil on canvas, 91.0×72.7cm

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Yuka Yoneyama, Stairs VIII, Oil on canvas, 91.0×72.7cm

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Yuka Yoneyama, Back Alley in the Evening, Oil on canvas, 60.6×50.0cm

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This page only introduces a portion of the exhibited works.
If you would like a price list of works for sale, please contact us.

Inquiry form

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Installation Views

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Goods

Original merchandise by Yuka Yoneyama x LURF GALLERY will be available for purchase at the venue and on the website from 11:00 AM on Friday, September 5, 2025.

Long-sleeved T-shirt (7,480 yen including tax)

Hoodie (9,900 yen including tax)

Long-sleeved T-shirt (1 type, S-XL, 7,480 yen including tax), hoodie (1 type, S-XL, 9,900 yen including tax)
Website: https://lurfgallery.com/collections/all

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Profile

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