Aki Kuroda by Camille Fallen - Anthropos / Entropy

Anthropos / Entropy by Camille Fallen, 2002

There is no stopping now. Ariane holds the painter's hand, she races with the demon, Entropy, the one who freezes and freezes. A new Gorgon in love with uniformity. The risk of supercooling threatens constantly hanging from the canvas like a sword of Damocles. What is supercooling? It is a change of state which comes from a modification so slight, so tenuous that it could well make laugh from afar all those who amuse the details as if sometimes they were not the essential. Supercooling is a tiny element which is added to the instability of the medium and which instantly petrifies everything. For ever. They are horses fleeing the fire. Arrived in the lake which they cross, one believes them saved, their manes flutter in the wind, their cheerful paws strike the water. And then, suddenly, it's supercooling, the moment that Aki Kuroda calls Crystal Chance, an ice that comes and interrupts everything, forever stabilizing the lake, the manes and the legs that beat the water. . It's finish.

The catastrophe, cataclysm or earthquake first occurred on Atlantis or in Pompeii. But as the universe grew, the impending disaster – and ecstasy – gradually expanded to the measureless measure of the universe. It is from the possibility of this disaster that Aki Kuroda paints. The violence of this terror harasses him. However, there is still hope. Bodies rose from the sea of figures, ghosts, angels, androids, and in one of these figures perhaps: Anthropos. Another name for Dionysus. Anthropos, the one who resists Entropy, the one who stands, sways and dances as the abyss approaches. He is the artist, as Aki Kuroda sees him.

The "form" does not interest me, but the figure and the line.

Meta-morph-ose: Aki Kuroda goes beyond forms. And yet, his painting is not exactly “abstract”. The expanding universe becomes pure space, only lines can follow. Forms exploded. They no longer house meaning or time. Around the figure, the world is fragmented, differentiated, it is life, the happy din of Anthropos, the metamorphosed man, exiled but liberated from the Earth. From figure to figure, the passage is open, the wind of metempsychosis blows, it is the future that sucks bodies into its spiral to heckle them, jostle them, transform them, destroy them or give birth to them. The surrounding canvas is Aki Kuroda's universe, the universe of impossible possibilities that he gives to the figure.

Cristal Hasard is also the paradoxical and split moment during which Aki Kuroda paints non-stop to stop the death warrant rather than letting himself be stopped by it. Reminders, reminiscences, warnings constantly punctuate Aki Kuroda's universe and yet, the paintings lie to us, it's their truth, they flirt with grace and lightness, they have the art of impossible, supreme challenge.

The figures open up, precise and clear when everything is collapsing, they half open when unknown apocalypses are promised to them. There is fear there. The tightrope walker and flight on the brink of falling. Entropy lurks all around. This is what gives their tension, their restraint and their ecstasy to the canvases which sometimes stand on the verge of explosion and bursting.

Anthropos / Entropy by Camille Fallen, 2002