ART CITIES:London-Kenjiro Okazaki

Kenjiro Okazaki, Et egredietur virga de radice Iesse, et flos de radice eius ascendet. And for all this, nature is never spent. Generations have trod, have trod, have trod. I got old. Landscape plotted and pieced — Off side of my thought? fold, fallow, and plough. For skies of couple-colour as a brinded cow. The world is charged with the grandeur of God. Whatever is fickle, freckled — And still — it blooms. who knows how? The light is calm. We were struck by the sudden appearance of yucca trees The blossoms are not. Ring-a-ring o’ roses, come again another day. Praise him. The blossoms that remain are falling blossoms. That day, sunset seeing a butterfly fall. Nothing is so beautiful as Spring — when weeds, in wheels, shoot long and lovely and lush. (2026) © Kenjiro Okazaki

With a unifying emphasis on form, Kenjiro Okazaki explores themes related to time, space, and the human experience through a postmodernist lens. His work is rooted in an investigation of the perception and reconstruction of time. In addition to his artistic practice, he is a critic renowned for his efforts in redefining abstraction, also, he has authored and co-authored several books.

By Efi Michalarou
Photo: Pace Gallery Archive

Kenjiro Okazaki’s first-ever solo exhibition in the UK, titled “Never could be any other way — anagnorisis”, brings together sculptures, large-scale paintings, and a selection of the artist’s delicately framed “Zero Thumbnail “series.

The first part of the exhibition’s title, “Never could be any other way”, is the phrase inscribed in the run-out groove of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band” (1967), buried in the infinite loop after “A Day in the Life.” The second part, “anagnorisis” (ἀναγνώρισις), is Aristotle’s term from the Poetics for the moment of tragic recognition—the retroactive discovery that what has happened could only have happened this way. Both name the same structure, which is the central thesis of Okazaki’s forthcoming book “The Discovery of Art: Conditions for Living in the AI Era” (June 2026).

Okazaki is an acclaimed artist, architect, and theorist whose multifarious practice spans painting, sculpture, robotics, costume and set design, and architecture. One of Japan’s leading contemporary artists, he examines the relationship between temporality and human perception. Central to his practice is the concept of zōkei (plastic arts): the making of form from substance. Asserting that our engagement with the universe is as malleable as the materials that constitute it, Okazaki positions zōkei as a practice through which perception and the world itself are brought into relation.

The artist’s theoretical project draws on mathematics, quantum physics, art history, poetry, music, and literature. At its center is a conception of time as a constraint—one that art makes visible in order to overcome it. This idea was already central to Okazaki’s practice well before his stroke in 2021 and the six months of rehabilitation that followed; that experience gave it new concreteness. For Okazaki, rehabilitation is not the recovery of lost movement, but the discovery, after the fact, that the movement was there all along.

Okazaki produces his multi-panel abstract paintings—figuring in this exhibition as diptychs and quadriptychs—using richly hued acrylic paints, thickly daubed onto the surface. As with the work of Paul Cézanne, a key source of inspiration for the artist, the gaps between brushstrokes emphasize that their proximity is contingent and open. Each island-like block of color is created within a single unit of continuous time, while the intervals between their making can vary from half a day to several months. Okazaki calls these units of color “giornata” (a day’s work), borrowing the Italian term used in buon fresco painting to describe how much work can be completed in a single day.

At first glance, the paintings’ clusters of color, texture, and shape appear distinct and independent. Through sustained looking, mirrored gestures and complementary or analogous color combinations map relationships across the panels, unfolding into an ever-expanding set of possibilities.

This relational logic extends beyond the visual field and into language. Okazaki’s long, narrative titles—often assuming poetic or fragmentary literary form—further expand the paintings’ potential for meaning. As the artist has explained, the titles belong to an “expressive sequence distinct from that of the work itself, functioning to subject the visual to the order of language.” For Okazaki, the encounter between two autonomous sequences—the visual and the textual—interrupts their internal logic and, in doing so, produces a “network structure” of meaning.

A selection of small-scale paintings from Okazaki’s “Zero Thumbnail” body of work, begun in 2005, are also included in the exhibition. Working within a fixed scale and format, these condensed compositions allow for a wide range of painterly decisions. In some works, thin coats of paint create a near-translucent effect; in others, the acrylic’s jelly-like viscosity evokes a tactile sensation, as if the viewer’s own hands were implicated in the painting’s creation. The wooden frames Okazaki makes for the Zero Thumbnail works—marked by cut apertures and pronounced variations in grain—are conceived in direct relation to the compositions they enclose. In dialogue with the paintings, the frames both extend and compress the artist’s gestures. At an intimate scale, the works articulate the visual intensity of Okazaki’s practice.

Three sculptures, including one made this year, also feature in the exhibition. These large, resin and synthetic marble forms possess an organic, almost fleshy sense of motion. Bearing the marks of manipulation—compression, expansion, contraction, and fracture—the sculptures give material form to a foundational principle of Okazaki’s work: the making of form from substance.

“The Discovery of Art: Conditions for Living in the AI Era”, Okazaki’s forthcoming book examining art through the lens of AI and the Socratic method, will be published by Film Art-sha on June 26.

Photo: Kenjiro Okazaki, Et egredietur virga de radice Iesse, et flos de radice eius ascendet. And for all this, nature is never spent. Generations have trod, have trod, have trod. I got old. Landscape plotted and pieced — Off side of my thought? fold, fallow, and plough.
For skies of couple-colour as a brinded cow. The world is charged with the grandeur of God. Whatever is fickle, freckled — And still — it blooms. who knows how? The light is calm. We were struck by the sudden appearance of yucca trees
The blossoms are not. Ring-a-ring o’ roses, come again another day. Praise him. The blossoms that remain are falling blossoms. That day, sunset seeing a butterfly fall. Nothing is so beautiful as Spring — when weeds, in wheels, shoot long and lovely and lush. (2026) © Kenjiro Okazaki

Info: Pace Gallery, 5 Hanover Square, London, United Kingdom, Duration: 5/6-9/8/2026, Days & Hours: Tue-Sat 10:00-18:00, www.pacegallery.com/

Kenjiro Okazaki, The unequal distribution of land and water is evident at first glance. Though it may appear that this distribution is dominated by blind chance, a closer look reveals that an orderly rationale underlies the existing relationship between the solid and fluid surfaces of the Earth. Waves flew in all directions as the whale churned through the water, its course marked by a rod-wide trail of white foam left by the thrashing of its tail against the surface. It passed beneath our ship once more before heading downwind and out of sight. Around 8am, before the wind direction had changed, I noticed water was quickly flooding into the boat at an alarming rate. Within minutes, the water level rose rapidly and the boat was no longer safe. The ship seemed to sail through milk, due to the immense number of tiny white creatures on the surface, concealing the water's hue. The Red Sea's distinctive red color, from which the name comes, results from a microscopic alga floating. The allure of that red color conceals the exuberant life activity. / 陸と海が不均等に分布していることは一見して明らかです。この分布は偶然に支配されているように見えるかもしれませんが、よりよく観察すると、地球の固体表面と流体表面の間に存在する関係の基盤に整合的な秩序があることが洞察できます。 波が四方八方から飛び、クジラが向かう方向は、尾が水面を激しく打ってできた幅1竿ほどの白い泡の道に示されています。彼は再び船の下を通り、風下に去りました。 風向きが変化していない朝8時頃、ボートに水がすごい勢いで浸水してくるのに気づきました。数分のうちにみるみる水量は増え、もはやボートは安全ではありません。 船はミルクの中を航行しているようだった。水面を泳ぐ無数の小さな白い動物が水の色合いに混じって起こす現象である。紅海とよばれる海の独特な色は、海面に浮かぶ微細な藻類の存在による。美しい赤い色の印象はその驚異的な繁殖力をも隠す。, 2024, acrylic on canvas, 224 cm × 363.5 cm × 7 cm (88-3/16" × 11' 11-1/8" × 2-3/4") © Kenjiro Okazaki
Kenjiro Okazaki, The unequal distribution of land and water is evident at first glance. Though it may appear that this distribution is dominated by blind chance, a closer look reveals that an orderly rationale underlies the existing relationship between the solid and fluid surfaces of the Earth. Waves flew in all directions as the whale churned through the water, its course marked by a rod-wide trail of white foam left by the thrashing of its tail against the surface. It passed beneath our ship once more before heading downwind and out of sight. Around 8am, before the wind direction had changed, I noticed water was quickly flooding into the boat at an alarming rate. Within minutes, the water level rose rapidly and the boat was no longer safe. The ship seemed to sail through milk, due to the immense number of tiny white creatures on the surface, concealing the water’s hue. The Red Sea’s distinctive red color, from which the name comes, results from a microscopic alga floating. The allure of that red color conceals the exuberant life activity. / 陸と海が不均等に分布していることは一見して明らかです。この分布は偶然に支配されているように見えるかもしれませんが、よりよく観察すると、地球の固体表面と流体表面の間に存在する関係の基盤に整合的な秩序があることが洞察できます。 波が四方八方から飛び、クジラが向かう方向は、尾が水面を激しく打ってできた幅1竿ほどの白い泡の道に示されています。彼は再び船の下を通り、風下に去りました。 風向きが変化していない朝8時頃、ボートに水がすごい勢いで浸水してくるのに気づきました。数分のうちにみるみる水量は増え、もはやボートは安全ではありません。 船はミルクの中を航行しているようだった。水面を泳ぐ無数の小さな白い動物が水の色合いに混じって起こす現象である。紅海とよばれる海の独特な色は、海面に浮かぶ微細な藻類の存在による。美しい赤い色の印象はその驚異的な繁殖力をも隠す。, 2024, acrylic on canvas, 224 cm × 363.5 cm × 7 cm (88-3/16″ × 11′ 11-1/8″ × 2-3/4″) © Kenjiro Okazaki

 

 

Kenjiro Okazaki, Circles drawn complete, returning to their starting point, curves end their progression. Birds bathed in the sunset fold their wings, and humans lose their words. The sun, having lit the earth, disappears, yet the sun itself remains unchanged in place. One plate shows cherries, another figs, and yet another grapes. When light strikes the fig plate, something twinkles like stars. The world must exist! The trees whisper in a language all understand. Nights spent plagued by doubt. Mornings where questions are answered. Even with his senses lost, the world exists around him: the vase, the red glass water pitcher (the morning light reflecting in smooth curves on the white window frame), and the world that lies beyond them. / 円を描き終え始点に戻れば曲線はそれ以上進まない、夕日を浴び鳥は翼を畳み人は言葉を失う。大地を照らした太陽が姿を消しても太陽の変わらずに在る。 ある皿には桜桃、別のには無花果、また別の皿に葡萄が描かれている。無花果の皿に光が当たると、何かが星のようにきらめいた。　 世界は存在しなければならないのだ！木々はだれにでもわかる言葉でささやく。猜疑に悩まされて過ごす夜。問いが解かれる朝。　 五感が失われても彼のまわりの花瓶、赤いガラスの水差（朝の光に白い窓枠が、なめらかな曲線をなして映っている）、その延長上に配列された世界が存在する。, 2023, acrylic on canvas, 182 cm × 261 cm × 6.5 cm (71-5/8" × 8' 6-3/4" × 2-9/16")
Kenjiro Okazaki, Circles drawn complete, returning to their starting point, curves end their progression. Birds bathed in the sunset fold their wings, and humans lose their words. The sun, having lit the earth, disappears, yet the sun itself remains unchanged in place. One plate shows cherries, another figs, and yet another grapes. When light strikes the fig plate, something twinkles like stars. The world must exist! The trees whisper in a language all understand. Nights spent plagued by doubt. Mornings where questions are answered. Even with his senses lost, the world exists around him: the vase, the red glass water pitcher (the morning light reflecting in smooth curves on the white window frame), and the world that lies beyond them. / 円を描き終え始点に戻れば曲線はそれ以上進まない、夕日を浴び鳥は翼を畳み人は言葉を失う。大地を照らした太陽が姿を消しても太陽の変わらずに在る。 ある皿には桜桃、別のには無花果、また別の皿に葡萄が描かれている。無花果の皿に光が当たると、何かが星のようにきらめいた。　 世界は存在しなければならないのだ！木々はだれにでもわかる言葉でささやく。猜疑に悩まされて過ごす夜。問いが解かれる朝。　 五感が失われても彼のまわりの花瓶、赤いガラスの水差（朝の光に白い窓枠が、なめらかな曲線をなして映っている）、その延長上に配列された世界が存在する。, 2023, acrylic on canvas, 182 cm × 261 cm × 6.5 cm (71-5/8″ × 8′ 6-3/4″ × 2-9/16″) © Kenjiro Okazaki
Kenjiro Okazaki, Effet du Soir / 篝火焚日 / POIL DE CAROTTE, 2024, acrylic on canvas, 182 mm × 252 mm × 30 mm (7-3/16" × 9-15/16" × 1-3/16") © Kenjiro Okazaki
Kenjiro Okazaki, Effet du Soir / 篝火焚日 / POIL DE CAROTTE, 2024, acrylic on canvas, 182 mm × 252 mm × 30 mm (7-3/16″ × 9-15/16″ × 1-3/16″) © Kenjiro Okazaki

 

 

Left: Kenjiro Okazaki, Aimlessly navigating the canals, he would sometimes leap onto small islands overgrown with reeds, cheering up lonely bulls with his whistles. He'd pick berries from thorny bushes, poke at rabbit burrows to startle the young ones, and giggle at coots dozing on the water's surface. His feet were always muddy and cheerfully wet. / あてなく運河を巡り、葦の茂る小島に飛び移り、寂しげな雄牛を口笛で元気づけ、茨からベ リーを摘み、ウサギの巣を突っつき子ウサギを驚かせ、水面で眠るオオバンに笑い、彼の 足はいつも泥だらけで朗らかに濡れていました。, 2024, acrylic on canvas, 160 cm × 130 cm (63" × 51-3/16") © Kenjiro Okazaki Right: Kenjiro Okazaki, Her first thought was that perhaps the Virgin made miracle. But when she look again, the house wherein had faded her childhood dreams and her maiden illusions. There was nothing to do but go, so, began to prepare breakfast. Strange, she was calm, she even had a desire to laugh! There was no miracle—the sun was rising and promised a magnificent morning, the breeze was delightfully cool, the stars were paling in the east, and the cocks were crowing as if to see who could crow best and loudest. She went out with as little noise as possible. / 彼女は最初、聖母が奇跡を起こしたと思いました。けれど再び見ると子供の頃の夢と乙女の幻が満ちた家はもう色褪せています。もう何もやることはない、だから朝食を準備しました。奇妙ですが、彼女は静かで、そして笑い出したかった。 奇跡はなかった。お日さまが昇り、素晴らしい朝を約束していました。そよ風が心地よく 涼しい。東の空では星が消えかかっていた。雄鶏たちが一番大きく美しく鳴けるかを競いあって鳴
Left: Kenjiro Okazaki, Aimlessly navigating the canals, he would sometimes leap onto small islands overgrown with reeds, cheering up lonely bulls with his whistles. He’d pick berries from thorny bushes, poke at rabbit burrows to startle the young ones, and giggle at coots dozing on the water’s surface. His feet were always muddy and cheerfully wet. / あてなく運河を巡り、葦の茂る小島に飛び移り、寂しげな雄牛を口笛で元気づけ、茨からベ リーを摘み、ウサギの巣を突っつき子ウサギを驚かせ、水面で眠るオオバンに笑い、彼の 足はいつも泥だらけで朗らかに濡れていました。, 2024, acrylic on canvas, 160 cm × 130 cm (63″ × 51-3/16″) © Kenjiro Okazaki
Right: Kenjiro Okazaki, Her first thought was that perhaps the Virgin made miracle. But when she look again, the house wherein had faded her childhood dreams and her maiden illusions. There was nothing to do but go, so, began to prepare breakfast. Strange, she was calm, she even had a desire to laugh! There was no miracle—the sun was rising and promised a magnificent morning, the breeze was delightfully cool, the stars were paling in the east, and the cocks were crowing as if to see who could crow best and loudest. She went out with as little noise as possible. / 彼女は最初、聖母が奇跡を起こしたと思いました。けれど再び見ると子供の頃の夢と乙女の幻が満ちた家はもう色褪せています。もう何もやることはない、だから朝食を準備しました。奇妙ですが、彼女は静かで、そして笑い出したかった。 奇跡はなかった。お日さまが昇り、素晴らしい朝を約束していました。そよ風が心地よく 涼しい。東の空では星が消えかかっていた。雄鶏たちが一番大きく美しく鳴けるかを競いあって鳴 いている。彼女はできるだけ静かに出かけました。, 2023, acrylic on canvas, 209.7 cm × 116.7 cm × 6.5 cm (82-9/16″ × 45-15/16″ × 2-9/16″) © Kenjiro Okazaki

 

 

Kenjiro Okazaki, When the sun sets, the meat turns to stone. The fossilized bones of Megatherium are still found here and there, I hear. In the days when breakfast was Megatherium, what was the world like? It's hard to break habits. Where we lived, coal grew on trees. Don't worry, only you will turn to stone. Cherish your statue. When the sun dries my pitiful beard, I flee into the depths of the beach and dig a home in the warm, dried sand. I will stay there forever. I have no intention of speaking again. / 日没になると、お肉は石になるのよ。メガテリウムの石でできた骨とかが今でもそこらにあるそうですよ。朝食がメガテリウムだったころの話、世界はこんなでした？ 習慣を断ち切るのは難しいもの。.私たちが住んでいた処は、木に石炭が生えていました、大丈夫、気にしないで、石になるのはあなただけよ。あなたの像を大切にしてね。 太陽が私の哀れなひげを乾かすと、私は浜辺の奥に逃げ込み、暖かく乾いた砂の奥深くに家を掘りました。私はずっとそこにいます。もう何も話すつもりはありません。, 2024, acrylic on canvas, 182 cm × 216.1 cm × 6.5 cm (71-5/8" × 85-1/16" × 2-9/16")
Kenjiro Okazaki, When the sun sets, the meat turns to stone. The fossilized bones of Megatherium are still found here and there, I hear. In the days when breakfast was Megatherium, what was the world like? It’s hard to break habits. Where we lived, coal grew on trees. Don’t worry, only you will turn to stone. Cherish your statue. When the sun dries my pitiful beard, I flee into the depths of the beach and dig a home in the warm, dried sand. I will stay there forever. I have no intention of speaking again. / 日没になると、お肉は石になるのよ。メガテリウムの石でできた骨とかが今でもそこらにあるそうですよ。朝食がメガテリウムだったころの話、世界はこんなでした？ 習慣を断ち切るのは難しいもの。.私たちが住んでいた処は、木に石炭が生えていました、大丈夫、気にしないで、石になるのはあなただけよ。あなたの像を大切にしてね。 太陽が私の哀れなひげを乾かすと、私は浜辺の奥に逃げ込み、暖かく乾いた砂の奥深くに家を掘りました。私はずっとそこにいます。もう何も話すつもりはありません。, 2024, acrylic on canvas, 182 cm × 216.1 cm × 6.5 cm (71-5/8″ × 85-1/16″ × 2-9/16″)

 

 

dreamideamachine ART VIEW