What makes a seascape? On this focus exhibition of 10 current work on the Museum of Modern Artwork, veteran Los Angeles artist Takako Yamaguchi subverts the normal notion. Fairly than base her imagery on observations of the pure world, she takes the other strategy and practices what she calls “abstraction in reverse.” Recognizing that early European and American Modernists derived their geometric or natural varieties from nature, she as a substitute begins through the use of summary shapes to assemble calm seascapes, with horizon traces bisecting every composition into two equal sections. She superimposes extra summary imagery reflecting her love of sample and ornament, style, and her idea of magnificence, some loaded with symbolic associations.
In “Stitch” (2023), a brown rectangle suggests the presence of a beachfront, the ocean is split into horizontal registers made up of undulating traces and interlocking zigzags, and clouds have been changed by an expansive braid that the partitions factors out recollects a close-up of these feminized supplies of hair or material. Simply perceived as separate parts, Yamaguchi’s summary and figurative configurations do not likely work together. Fairly, they peacefully coexist as two worlds in a single, as nature and tradition.
Takako Yamaguchi, “Trap” (2024), oil and metallic leaf on canvas, 60 × 40 inches (152.4 × 101.6 cm)
Yamaguchi’s picture lexicon additionally consists of architectural columns, fountains, and geometric patterns derived from historic Japanese artwork, as in Ukiyo-e prints or folding screens. The latter affect is especially evident in “Trap” (2024), the place swirling cloud formations inhabit the sky and rhythmic waves swirl within the heart just like the codependent halves of a yin-yang image. An analogous impact is at play in “Accomplice” (2025), the place two Greek columns have been whimsically anthropomorphized such that they look like snuggling.
Certainly, Yamaguchi is at her finest when letting her creativeness run rampant. This may be most clearly seen in her implausible biomorphic creatures that appear to have risen from the ocean depths, blocking our views of distant horizons. Hybrids of architectural motifs and female symbols, akin to flowing hair or wombs, the colourful, energetic biomorphs in “Guide” (2023), “Pilot” (2024), and “Plenum” (2024) occupy total foregrounds, commanding our consideration like actors on a stage, the seascape behind functioning like a scenic backdrop. Delightfully surreal, these creatures evoke associations with Japanese anime and traditional horror movies. In contrast, the ornamental buildings in “Procession” and “Font” (each 2024) perform extra like gateways by way of which we will envision journeying throughout the waters.
Melding abstraction with figuration by way of an idiosyncratic language that pulls from Euroamerican Modernism and Japanese woodblock prints and popular culture alike, Yamaguchi successfully liberates herself from such distinctions, creating recent compositions which might be without delay serene and animated.
Takako Yamaguchi, “Guide” (2023), oil and metallic leaf on canvas, 42 × 50 inches (106.7 × 127 cm)
Takako Yamaguchi, “Font” (2024), oil and metallic leaf on canvas, 60 × 40 inches (152.4 × 101.6 cm)
Takako Yamaguchi, “Accomplice” (2025), oil and metallic leaf on canvas, 50 × 42 inches (127 × 106.7 cm)
MOCA Focus: Takako Yamaguchi continues on the Museum of Modern Artwork, Los Angeles (250 South Grand Avenue, Downtown Los Angeles) by way of January 4, 2026. The exhibition was curated by Anna Katz and Emilia Nicholson-Fajardo.
