ART REVIEW: MAKIKO KUDO AT MARC FOXX
Jan 2011, by David Pagel, Los Angeles Times
Makiko Kudoâ€™s hauntingly beautiful paintings chart a quietly charged course between loveliness and loneliness. At Marc Foxx, the Tokyo-based 32-year-oldâ€™s oils on canvas evoke bittersweet memories of bygone days, giving visitors to revisit childhood without turning into a sappy clichĂ© .
Part f the power of Kudoâ€™s images derives from their formal toughness, compositional savvy and spot-on paint handling. Two 12-feet-long paintings, â€śMissingâ€ť and â€śManager of The End of the Worldâ€ť, make you think of Monetâ€™s gorgeous water lilies and Rousseauâ€™s dreamy realism without forcing the comparisons ort getting bogged down in portent. Similarly, Matisseâ€™s Fauvist phase burbles into consciousness when you stand before â€śInsomnia,â€ť the showâ€™s serene knockout.
MAKIKO KUDO- ANDERSONâ€™S CONTEMPORARY
Andersenâ€™s Contemporary is currently showing a solo exhibition with new paintings by Japanese artist Makiko Kudo.
Makiko Kudoâ€™s work depicts familiar motives in imaginary scenes. She paints houses, trees and people, but she paints them in such a way, that the immediately recognisable is merged with something mysterious, enigmatic and dreamy. This fusion of the realistic and the suggestive results in Kudoâ€™s scenes appearing as if detached from time and space- concurrently universal and intimate; and a major inspiration for Kudo is indeed her own dreams, memories and emotions.
Sept 2007, by Donald Eubank, The Japan Times Online
Twenty years from now, when we can look back on the trend toward the immature in Japanese art, we'll finally be able to shake out the worthy from the wearying. Ten or 20 canvases will stand the test of time, while the rest can be forgotten. To see one that's probably built to last, check out Makiko Kudo's current exhibition at the Tomio Koyama Gallery (www.tomiokoyamagallery.com) in Kiyosumi. Not everything clearly jumps out here, but "Since I Can See the World" (above) makes a fine argument for longevity. The childlike subject of a girl is expressive, while the brush strokes and composition are what they call "painterly" â€” that is, in a conversation with the history of the art form. Ask yourself if the rest will last as well. And if you make it to Kiyosumi by Saturday, check out Hiromi Yoshii gallery's extra space on the first floor of the complex for some humorous videos by Hiroki Kehara. They are the human equivalent of artist Koki Tanaka's popular short films about objects.