The Outfielder

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Spores, 2009 Wall Painting, Photocopies, Acrylic 350 X 850 Cm © Motoko Debashi, Lullin + Ferrari
The Outfielder

Limmatstrasse 214
8005 Zurich
April 8th, 2009 - May 23rd, 2009
Opening: April 7th, 2009 6:00 PM - 8:00 PM

+41 (0)43 205 2607
Tue – Fri,12 - 6; Sat, 11 – 5 or by appointment


Lullin + Ferrari are delighted to present new works by the Japanese artist Motoko Dobashi in her first exhibition in Zurich. Dobashi (b. 1976 Tokushima), studied from 1995 to 1999 at the Musashino Art University in Tokyo before moving to Munich in 2000 to pursue her studies at the Akademie der Bildenden Künste. In 2007 Dobashi obtained her diploma in the master class of Markus Oehlen.

Dobashi's work has gained prominence through her many exhibitions of large mural paintings. Recently she showed in the group show Favoriten 08: Neue Kunst in München in the Kunstbau of the Lenbachmuseum, presenting an impressive interior view of a cathedral. In Zürich Dobashi combines mural paintings with drawings and works on canvas.

The title of the exhibition The Outfielder is a term lent from baseball. The expression describes the players standing farthest from the batter. An outfielder's duty is to try to catch long fly balls before they hit the ground or to quickly catch or retrieve and return to the infield any other balls entering the outfield. Dobashi is intrigued by the conception of figures, standing in an intermediate area between human society and nature.

The outfielders occupy such a position not really taking part in the game. In her images these figures are not directly depicted but rather represented by the marks they might have left.In the first room of the gallery a mural painting shows the top of a mountain framed by little clouds. The painting gives the viewer the impression of standing on the hill and looking down from an elevated position. Dobashi picks up the motif of the cloud throughout the subsequent rooms of the gallery and thereby connects the different parts of the exhibition space, in-between Dobashi places subtle drawings, oil paintings and a painted screen.

In the art of Dobashi, her Japanese cultural background is interwoven with an occupation with European art historical motifs. Her drawings often quote the reduced graphic signs from Japanese manga and computer games, their linear, graphic figuration, floating lines and multiperspectivity refer to the traditional Japanese woodcut. Dobashi connects these elements in an ingenious way with motifs borrowed from the vocabulary of the German Renaissance masters like Albrecht Dürer and Albrecht Altdorfer.

With spare means Dobashi creates fragile worlds on paper and on canvas. Often her works are monochrome, painted in blue or grey acrylic hues. Her main focus is centred around the genre of landscape. Dobashi creates her images with a romantic sensibility, oscillating between reality and fiction. Soul landscapes, in which terms like alienation, loneliness and longing for nature are captured. In the magical drawing Lantern several Japanese lanterns float behind a leafless tree. The drawing Castle shows in the layout of the line Dobashi's occupation with the woodcuts by Dürer. In the drawings Protection Area, Stone Tower and Lighthouse Dobashi devises fictitious, almost utopian architecture. In Nest and Winterlounge the artists drafts invented visions of nature.

In the paintings of the series Creatures of the Night one can again distinguish lanterns. For the rocks in her imagery Dobashi employed 3D-animation as source material. The paintings give the viewer the impression of being on a walk in the night.

In all of her drawings, paintings and murals, Dobashi creates a cosmos of her own which puts a spell on the viewer. The unique aesthetics of Dobashi's work represents an unusual synthesis of formal and expressive attributes of Japanese and German art which aptly reflects her eclectic cultural background.