Drawing is for me the most direct and effective way to define elusive images, they stem from the awareness of a physical state and from emotional memories. Being these images ephemeral by nature, the act of drawing becomes therefore the tangible “proof” of their existence.
The lines at the base of my pictorial universe, they stem from the depiction of the human body, for example segments of legs, eyes, ears, hair and mouth. These forms, schematized in my own way, appear mostly as abstract. Recomposing into a series of organic shape units, they transcend the initial image.
I often use text. By inserting words that also describe parts of human body into the drawing mass by doing so I try to create visual relationship between “seeing” and “reading”. For me drawing means to write a narrative by composing pictorial units that appear as some sort of incomplete ideograms. This idea stems from the fact that many ideograms contain in their abstract forms elements of representation of the human body.
Other elements, such as over laid structures, originate from the process of erasing. I use modeling paste as an eraser. With a thin semi-transparent layer of modeling paste I give materiality to the process of erasing, this means that I create surfaces through the process of erasing. I then redraw on the layer and again I erase. Often I carve the surface to break lines and forms. The repetition of the process of break and repair is a manner of discovering a hidden narrative through the emergence of memory.
In recent works I add one more element that conveys a sense of time: words these are placed by shape units relating to a subjective measurement of the duration of an event.Moe Yoshida
Fragments and re-compositions of a shattered story that is waiting to fit onto a drawing, or to emerge from a paper surface that reminds –in the signs-the dynamic and timing of an action. Action that is formulated, defined and completed by the painting /drawing of Moe Yoshida. A refined performative counterpoint capable of defining a climatic series of postures that stand between memory and cancellation.
Artist Bio / CV
Born in 1975 in Kakogawa, Japan. Lives and works in New York, Bologna. After having graduated from Osaka University of Arts, receiving the Prize of the visual arts department, she moved in 1998 to Italy to further her studies, graduating in painting in 2004 at the Academy of fine Arts in Bologna (receiving a nomination for Giorgio Morandi engraving Award). Developing drawing as her principal medium, in 2010 she was accepted in the Viewing program of the Drawing Center. She also cultivated her interest for the theater participating in several performing art workshops (an intensive course with professional puppeteers held at Swedish Cottage Marionette Theater, Central Park New York, in 2010, a workshop on voice and movement in performing art held at Theater Studio Scandicci, Firenze, Italy, in 2007 etc). Her most recent and notable participations are the solo exhibition in 2011 Anatomia di un fantasma at Galleria 42 Contemporaneo [Modena, Italy], in 2013 multimedia performance with Moe Yoshida, composer Paolo Aralla choreographer Luca Veggetti cio’ che cresce sopra at FARNESPAZIO [Bologna Italy], the group exhibitions Moe Yoshida, Aurelie Jossen/Rudolf Scindler at Gewolbe Galerie [Biel Switzerland], disegno ora organized by Galleria42 and Federico Luger gallery [Modena Italy] both held in 2009, two person exhibition aprile 2008 at Galleria 42 Contemporaneo [Modena, Italy].She also participated in some stage projects of stage director/choreographer Luca Veggetti contributing original stage objects. Notably, in 2009, the original art work for Toshio Hosokawa’s Opera Hanjo, at Suntory Hall Tokyo and at Piccolo Teatro in Milan, in 2010, the original art work for Kaija Saariaho's ballet "Maa" at Miller Theater in co-production with W&P at the Guggenheim in New York and original art works for the staging of Iannis Xenakis’s “Oresteia” in a marionette version in Central Park in New York as part of the World Music Day.