Makiko Nakamura, shows two large paintings, both untitled and one a diptych, and both exceptionally, even startlingly good. Her work, she remarks in a brief, thoughtful statement, is concerned, with “disappearance and erasing”, and the large subjects, of presence, loss and absence that loom behind the two things.
And it really is, rather than just indulging in the rhetoric, as is common. The smoky, burnished, metallic surfaces of her paintings bear traces of overall grid patterns and other methodical markings, half there, half already gone. The absolute precision of her method and the sureness of her instinct, plus the sombre presence of her work, mark her out as an artist of exceptional quality.