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  • Provenance

    Bill Brady Gallery, Miami
    Acquired from the above by the present owner in 2016

  • Exhibited

    New York, Bill Brady Gallery, Tomoo Gokita: On Paper (organized by Johnson Trading Gallery), March 4 - 31, 2016

  • Catalogue Essay

    Fast‐rising art stars, Nicolas Party and Tomoo Gokita are taking grand strides to re‐invigorate the millennia‐old tradition of portraiture. From the ancient Egyptians to the Roman Caesars, the Renaissance elite to the political and royal families of Europe, portraiture has traditionally been an historical record of one’s wealth, power and beauty. This treasured art form has persisted through numerous stylistic iterations by the most important artists of each generation. Following in these radical footsteps, Party and Gokita are leaders among the most contemporary practitioners. Sharing a background in graphic design, both artists find themselves with increasingly celebrated oeuvres, most fittingly classified as Post‐Conceptual. Their work focuses almost exclusively on the aesthetic importance of representing their subjects without providing a narrative to signify social significance.

    Once the central purpose of traditional portraiture, the theme of specific personal identity is starkly absent from contemporary examples Portrait and Mexican Duchamp. Notably inspired by the idealism of Classical Greek sculpture, Nicolas Party’s androgynous subject in Portrait dons powder blue eyeshadow and bright red lipstick. Highlighted by these superbly unexpected accents, the figure’s bulbous features evoke little more than a hollow shell, intentionally lacking individualistic characteristics and contextual social status. Rather, the figure serves as an ambiguous idol of physical appearance. Likewise, eschewing the conventional priorities of glorifying the sitters’ facial features, Gokita’s Mexican Duchamp purposely obfuscates its subjects’ appearances. Inspired by Playboy magazines and working in his signature greyscale palette, Gokita celebrates the same de‐contextualizing motifs evident in Party’s work. With deliberate smudges across his subjects’ guise, Gokita alternately masks their identities and obstructs the spectator’s gaze. Elusively illustrating a particularly mature couple outfitted in elegant evening attire, the artist begs the viewer to bear further witness to their implied extravagant livelihood, to no avail.

    The uniformly monochrome backdrop in both Portrait and Mexican Duchamp strips the sitters of any discernable narrative or social position, conversely creating a flattened and ambiguous surrealist fantasy. Once featuring beloved belongings of the sitter(s) and expressly denoting a specific personal surrounding, portraiture sought to elevate the elaborate routine of one’s life and style. Cleverly neglecting these themes, these two artists abandon symbolic connotation to instead develop innovative narratives of mystery and intrigue.

    With no underlying symbolic representation, the focus of these works lies primarily in the materiality of the artists’ hand. While Gokita portrays his erotic imagery with an angular line and Party favors playful subjects rendered with fluid contours, both artists execute with an energizing looseness that contradicts the stagnant principles of traditional portrait‐painting techniques. Despite their impulsive execution, each work exhibits sharp clean strokes paired with layers of luxurious media that emphasize the seductive otherworldliness of its subjects. Customarily painted in oil, portraits typically manifested a highly‐refined permanence that is disregarded in these contemporary renditions executed in gouache and pastel. Composed uniquely in the celebrated styles of these cutting‐edge artists, each of these works exhibits portraiture’s latest avant‐garde venture that perpetuates the ever‐lasting appeal of this art form.

  • Artist Biography

    Tomoo Gokita

    Japanese • 1969

    Best known for grey-scale paintings that combine abstract and figurative elements, Tomoo Gokita is one of the most internationally prominent contemporary Japanese artists. His signature works feature archetypal figures or groups with their faces obscured, evoking haunting film stills or magazine spreads. Gokita enrolled in a local art school in 1988, but dropped out two years later to pursue a career in graphic design. Though he found success as a designer in the Japanese music industry, he felt creatively stifled and returned to painting full-time in the mid 1990s. 

    Similar to the way Gerhard Richter used photographs as a starting point for abstraction, Gokita combines visual references from found imagery with his stylized approach, creating portraits that are both rooted in memory and rich in painterly expression. His precise technique, often characterized by abstract flourishes and gestural swipes, can be traced to influence from New York’s Neo-Expressionists. In this playful manipulation of form, Gokita injects a sense of humor into his work, warping the archetypal into the absurd. Gokita has been the subject of multiple solo exhibitions at many prominent museums and galleries, including the Kawamura Memorial DIC Museum of Art in Sakura, Japan. The artist continues to live and work in Tokyo.

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Mexican Duchamp

signed and dated "Tomoo Gokita 2016" on the reverse
acrylic gouache on paper
20 x 15 1/2 in. (50.8 x 39.4 cm.)
Executed in 2016.

$15,000 - 20,000 

Sold for $68,750

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Sam Mansour
Associate Specialist, Head of New Now Sale
New York
+1 212 940 1219

New Now

New York Auction 24 September 2019