FAD Magazine, September 2015
Architectural Digest, December 2014
The Washington Post, October 2014
Wall Street International, May 2014
Time Out, 2014
Fairfield Magazine, May 2013
New York Cottages And Gardends, May 2012
Fiumano Projects (London) has works by Takefumi Hori, whose canvases of acrylic paint and gold or silver leaf, layered and removed, sanded and built up, should be much less than they are. They should be less ? less interesting, less seductive ? because someone should have done it before and because the gesture seems too obviously commercial. But in reality these paintings possess the alchemic fascination of Kiefer and the irresistible draw of an intoxicating mystery. They are like Richters but with the bling on the outside.
By Daniel Barnes
The Washington Post
In the galleries: In 'Gilded,' artist Takefumi Hori applies Midas touch
Can a painting be both austere and opulent? That's the tension in the work of Takefumi Hori, currently at Long View Gallery. The show is titled "Gilded," because the Brooklyn-based Japanese artist employs gold (as well as silver and bronze) leaf. In a few of the works, smears of gold embellish paintings of concentric black circles on mostly white fields. Other canvases are dense with metallic leaf and pigments, suggesting abstract expressionism as refashioned by someone with a Midas touch.
Medieval and Renaissance European paintings often employed gold leaf, usually for crowns, halos or other symbols of majesty and divinity. Gold also is seen in Japanese temples and shrines. Whether Western or Eastern, such touches always are applied tidily. But Hori is no exacting goldsmith. Even when he layers metallic hues smoothly, as in a series of small square paintings bisected into choppy and placid halves, there's tumult beneath the glistening surface.
Swathes of black sometimes feature in Hori's paintings, often in undercoats that are largely obscured by the white or gold atop them. But there are no other colors, which is one reason the artist's work suggests the more spartan compositions of such abstract expressionists as Barnett Newman and Robert Motherwell. Hori cites both the energy of New York and his study of calligraphy as influences on his style.
Somehow, though, it all seems to come back to gold. Hori's paintings may draw on such minimalist precedents as Newman's "zips," his term for the vertical lines that punctuated his canvases, and the slashes of black brushwork that propel Sino-Japanese characters to the brink of abstraction. Yet there's nothing stark about precious metals. Their sheen gives these rough-edged paintings a grandeur that's intriguing and perplexing.
By Mark Jenkins
October 10, 2014