The solo exhibition, titled "Hidden Mountain," revolves around a series of new paintings by Mai Yokoyama. The exhibition takes inspiration from the cultural artifacts left behind by the "Hidden Christian" movement during the strict prohibition of Christianity in Japan's Tokugawa Shogunate era (17th-18th century).
Last summer, Mai Yokoyama embarked on a residency in Minamishimabara, Nagasaki Prefecture. The region is rich in historical artifacts from the prohibition era, and it was there that she encountered, for the first time, the "Tengu Angel" sculptures created by the hidden Christians. Engaging in extensive research during that summer, Yokoyama explored the documented locations within the mountains and even ventured into the surrounding forests to search for further remnants, despite having limited information.
Under the oppressive ideological and political regime of the Shogunate, hidden Christians were compelled to conceal their faith and thoughts, persevering against all odds. The stone statues seemingly camouflaged along the mountain paths appear as ordinary Kannon or Tengu figures at first glance. However, upon closer observation, one can discern hidden crosses or Christian symbols on their chests. These sculptures were ingeniously concealed, to the point that even neighboring residents remained unaware. These evocative scenes inspired Yokoyama to explore the underground space of her exhibition and interweave the diverse Buddhist and Shugendō traditions of Japan, which she portrays in this series of artworks.
Challenging the concept of "reality," Yokoyama's series comprises electronic sketches drawn on an iPad, which are then "transferred" onto canvas using a "realistic" painting technique with oils.
In the past, she predominantly employed mediums such as crayons or colored pencils for sketching. However, similar to contemporary thought processes, the iPad allows for effortless actions like "copying," "pasting," or "undoing," naturally aligning with our cognitive processes and facilitating an intuitive expression of "painting." However, when physically wielding a brush, the unavoidable retention of certain oil painting brushstrokes aims to present the oil paintings as "digitally outputted."
Searching for a destination using a smartphone is a relatively easy task, but actually physically reaching that destination involves various complexities and challenges. Yokoyama believes that the process of "thinking" through mechanical capabilities and "implementing" them through the body closely mirrors the experience of living in the modern world. Thus, she employs this as a basis for contemplation and artistic creation.