Aidan Dunne reviews Makiko Nakamura in The Irish Times

In previous exhibitions, at the Ashford Gallery and Newbridge’s Riverbank Arts Centre, Makiko Nakamura has proved herself adept at handling imposingly large-scale paintings. A protracted process of making and erasing produces, in these large works, polished impassive surfaces that, with their residual grid-based compositions, and sheer, foliated layering, convey a sense of time lived and time lost. The domestic spaces of the Peppercanister Gallery, where she is currently showing, see her experimenting with a variety of smaller formats, with just a couple of excursions to a greater size, including a nine-part grid.

Nakamura employs a stringently limited palette in generally monochromatic colour schemes. Blue is one staple. Apart from that, black and silver rule the roost. Gold is a rarity, and creates a certain tension in that it implies a decorative luxuriance not otherwise evident, even in the silver paintings, preferring as the artist evidently does, the richness that derives from austerity. Nevertheless, she could not be accused of indulging a decorative inclination. Like several other works in what is a fine show, her Charcoal Grey Diptych with its rigorous horizontal banding, is a small picture with big presence.