#DRAWING A few days ago the first edition of Draw Art Fair was held in London. This contemporary drawing room brought together many European galleries that presented artists in solo shows. The Swiss gallery Anne Mosseri-Marlio has chosen to present unpublished drawings by the Japanese artist Minoru Onoda (1937-2008). In addition, an exhibition is dedicated to him in the gallery’s premises in Basel from June 7 to July 15, 2019. An opportunity to present an artist who is almost unknown to the French public but who has been exhibited in international exhibitions in Tokyo and New York.
After studying at the Institute of Fine Arts in Osaka, Japan, Minoru Onoda published his theory of “propagation paintings” in 1961 and participated in the 3rd International Exhibition of Young Artists in Paris in 1964. The Japanese artist then joined the Gutai group, a Japanese group considered to be one of the most important international avant-garde movements of the post-war years. Founded in 1954 by the artist Yoshihara Jiro, the group brings together the younger generation of informal painters and develops a concrete art understood in the sense of materialization. Minoru Onoda will remain faithful to the group’s main orientations: “We wish to provide concrete proof that our minds are free. We are constantly looking for new impulses that we draw from all existing plastic forms. This formal research leads Onoda’s art to new styles and hierarchies through lines and circles.
The unpublished drawings shown at Draw Art Fair were made between the 1960s and 1970s. His style rapidly progressed from architectural pictorial compositions to a singular abstraction. Small-format works that concentrate the search for colour, contrast, positive and negative effects and give rise to organic forms. In the 1970s, Onoda explored the dynamic relationship between man and his environment through the geometric unity and simplicity of the circle and round shapes. He often referred to himself as “the one who makes the circle”. It presents the endless proliferation of this form, which is heading towards a state of perfection, emptiness and silence. A sensitivity that brings him closer to Op Art. Thus, his drawings -as well as his paintings- draw on the pictorial and formal purity of universal inspirations, touching the viewer in an intimate and profound abyss.