These devices are gently held in suspension, elevated or supported by parts of the human body, shaping new interactions between the organic and the mechanical. The idea that a mechanism can unfold in our hands to overcome its utilitarian or even its material nature is a means for the artist to generate an aesthetic stretching beyond the material or the immediate relations established through proprietary design. Yet it is also a means to reveal the humanness of the machine: a product of the human hand, like painting itself. Koyama’s distinct, pictorial visualisations of the Meta-Machine transform, reconfigure and regenerate the devices; in doing so, the artist challenges the function of mechanisms, deconstructs space-time perspective, and re-informs our way of interacting with these apparatuses. On this new plane of thought and seeing, the mechanical and the automatic share the same rights for beauty and sublime as the human body, being a natural extension of it.
The kinetic display of the canvases creates a sense of interchangeable construction where organic and inorganic corpuses can interfere with their constitutive borderlines. As the artist disassembles both mechanism and the human body, a particular perspective on the aesthetics of the machine and out understanding of art and function is revealed. This, in turn, tends to erase the border between art and science. Reminiscent of processual studies referring to the historical perspective of Da Vinci’s drawings or contemporary engineering design plans, Koyama’s oil paintings do not only re-configure and re-assess the relations between organic and mechanic, or corporeal and automatic – they reveal an unprecedented approach to the creation of oil painting itself and raise new challenges for an ages old artistic medium that continues to inform our way of seeing.
May 13, 2015