As vast and random accumulations of fast decaying objects Haruki Ogawa’s works strike with synchronous appearance of dynamic and visually intense elements. His paintings with its expanding drive overcome traditional for fine art oppositions of “main and secondary”, “figure and background”, “material and formal” and being featured by “threedimensional abstraction” shake the definition of “non-figurative” expression itself.

“The Accumulation Spreads” are going to be presented by three different types of “painterly bodies”. The first one is traditional media of painting, although in case of Ogawa it already strives to excess its limits aiming to become a “painting as a cube” rather than a “painting as a surface”: Ogawa’s canvases/wooden bases have enlarged sides, which broadens the illusion of painting by presenting the sides of the represented objects as well and thus adding one more dimension to the medium. His paintings might be compared with squeezed in cube piles of junk, which random elements though are in active movement and interplay. They are hectic “aquariums” with abstract personages trying to break the limits and run away.

The second type of exhibit is “semi-objects” made of resin with common items like pieces of clothes, staples, bolts, wires inside of it, whose interaction by colors and textures creates the space of accumulation in physical reality thus illustrating ideas of the artists related to the structure of painting.

Finally, resin cubes filled with colorful oil (which stresses the idea of “floating”) or metal sticks (which hint on the concept of “break” and “escape”) present artist’s ideas in another media and in different type of physical presence. Occupying their spaces on the horizontal surface without any support or suspension they are autonomous painterly cells, as if frozen in ice but still contagious accumulations of forms on display; like an unknown prehistoric insects trapped in transparent amber but ready to come alive, break through and flight out into the space of the onlooker.

While working on idea of “echo” and “resonance”, Ogawa develops the basic structure of the painting and using canvases of different color tones and textures bring them in the visual dimension of depicted actions. The work unstoppably redefines itself, transforms, reconstructs itself in something different, and then something different, and different.