NEXT
Curved Intersection
UKIGAWA HIDENOBU, TANIGUCHI Ayumu
2026 5/13wedー5/23sat
PM 12-7(Last day until PM5)
Open: Wednesday, Thursday, Friday, Saturday
We are pleased to present “Curved”Intersection” by Hidenobu Ukigawa and Ayumi Taniguchi.
Ukigawa’s sculptures, constructed by joining piano wires with silver solder, feature slender lines that gently tremble and reveal diverse expressions depending on the viewing angle. As the viewer’s eye follows the slightly bent and connected lines, the characteristically rigid texture of the piano wire gradually softens, and its contours begin to take on a sense of ambiguity. Ukigawa describes these piano wire works as devices for capturing air.
In contrast, Taniguchi develops her imagery by weaving together fine wires. Beginning from a single “loop,” her forms expand as they interconnect and evolve. The accumulation of delicate handwork is also an act of pushing the inner contours outward into space.
This exhibition composes a spatial experience through forms born from the artists’ use of slender metal lines. Rigid piano wire and flexible wire draw sharp or gentle curves as they meet and intersect within the same space, subtly unsettling the viewer’s perception.
+1art
UKIGAWA Hidenobu<
I was astonished by the meticulously woven work—stitch by stitch. People say that “sculpture envelops space,” but what I saw instead was a process of “weaving space itself,” imbued with intention.
Until then, I had been simply assembling wire (piano wire) into box-like forms—frames that allowed air to pass through freely. Seeing this, I was struck by the realization: there was another way.
When lines are assembled, we tend to recognize them as a box. Invisible surfaces become implied, and it begins to seem as though distinct inner and outer spaces are created. With that in mind, I first tried making a kind of shelf to hold air. But at that point, I found myself unable to move forward.
Then I encountered Taniguchi’s work. I realized—so this is another approach: to weave air itself. For now, I will try to make the air tremble, to unsettle it.
Graduated in 1968 from the Painting Department of Osaka Gakugei University (now Osaka Kyoiku University). Based in Osaka.
Held his first solo exhibition in 1969 (Ano Gallery), and has since held solo exhibitions almost every year (including Shinano-bashi Gallery), as well as participating in Art Now ’77 (1976) and the Japan International Art Exhibitions (1978, ’79, ’81). From the 1970s onward, he has continued to present sculptural works to the present day.
Recent exhibitions include Nekokameya (2025, Osaka), Gallery Yusai (2025, Nara), +1art (2024, Osaka), and art fairs such as ART OSAKA 2025 (2022, Osaka City Central Public Hall).
《untitled》piano wire soldered with silver 2026
Left:1500×1500×100mm, Righr:1000×1000×50mm
TANIGUCHI Ayumu
Upon hearing that Ukigawa-san “Catch the Air”or "stores it on shelves," their work appears to me as a mysterious apparatus. This led me to consider my own relationship with air within my practice.
I have come to perceive the wa (the foundation loop)—the starting point of the knitting process—as a kind of mouth. I open this mouth toward the air. From the threshold between the interior and the exterior, I extend my reach and expand the mesh through the act of knitting, seeking to perceive the world through these extended tactile senses. My work might be a kind of organ—at least, for today.
M.F.A. from Tama Art University.
Based in Tokyo. Recent highlights include "ART FAIR TOKYO 2026", "ART OSAKA 2025" (both Gallery sekiryu), Solo Exhibition "-Day by day-" (AURORA GRAN GALLERY, 2025), "Charity & Auction 2025" (+1art, 2025), and "SICF25" (2024).
《wirework-wave-》wire 2025
Left:190×190×103mm
Held concurrently
©️ +1 art