Keiko Narahashi Solo Show

The formal language of Minimalism—flat planes, geometric restraint, and objecthood—is present throughout the exhibition, but softened and animated by narrative and emotional depth. Narahashi’s sculptures appear to perform rather than simply exist: leaning, stretching, and teetering in careful proximity. Their theatrical arrangement emphasizes the relationship between body and environment, and how memory and imagination are shaped through material space.

Recalling the delicate balance and performative intimacy of Alexander Calder’s Cirque Calder, Narahashi’s installation conjures a sense of intimate drama. The central platform offers a stage-like point of view, inviting the viewer into a composed scene. Unlike traditional theater, the audience is free to walk alongside the stage. As one moves around it, hidden structures and supports reveal the quiet engineering behind the poise. What seems flat gains depth; the backs of the works, glazed in deep matte black, stand in stark contrast to the vibrant chromatic surfaces that face forward. This passage from “somewhere” to “elsewhere” suggests a poetic shift—from color, dream, and lightness to a more grounded, structural reality. Narahashi’s process begins with drawing directly into slabs of clay, treating the material as a cut-out sketchbook. She constructs hybrid forms that occupy a space between vessel and picture plane. Surfaces are activated through layered glazing and repeated firings, creating painterly effects that oscillate between intention and chance. Her forms suggest silhouettes, portals, or fractured landscapes, always hovering just outside of legibility. A tension between abstraction and representation threads through the work, grounding it in both formal precision and emotional resonance.

Ultimately, Somewhere… becomes a meditation on longing—both personal and collective. In a world shaped by displacement, transition, and the search for belonging, Narahashi’s sculptures hold space for fragility and hope. Through form, surface, and gesture, they trace the contours of what it means to imagine another place—and the quiet courage it takes to believe it might exist.