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America Age > Blog > Art & Books > Keita Morimoto Lingers within the Synthetic Mild of City Nights
Art & Books

Keita Morimoto Lingers within the Synthetic Mild of City Nights

Enspirers | Editorial Board
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Keita Morimoto Lingers within the Synthetic Mild of City Nights
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Cities are always in flux, however Keita Morimoto (beforehand) invitations us to linger of their transitions a little bit longer. The artist renders nook shops, merchandising machines, and lampposts that illuminate areas that may in any other case go unnoticed. Both unoccupied or inhabited by only one or two folks, Morimoto’s scenes are dimly lit however not eerie and invoke the environments most of us have interaction with for only a second.

“The anonymous, liminal spaces in my paintings echo the feeling of never fully belonging,” Morimoto says in an announcement. “I’m drawn to the way emotions can transform a familiar setting into something entirely different, revealing deeper truths about the human experience.” 

“Crossroad” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters

In a brand new physique of labor titled To Nowhere and Again, the artist continues his explorations into the interaction of sunshine and shadow. Drawing on the sights of New York Metropolis and Tokyo, he considers how we discover connection in a world that’s always altering. He shares:

My work displays a lifetime of navigating battle, loneliness, and the will to flee inside city environments. Once I moved from Osaka to Canada at 16, I skilled a profound sense of isolation, as if severed from the whole lot acquainted. Over time, some connections emerged, however it was all the time accompanied by delicate discomfort. Returning to Japan in 2021 introduced an analogous disorientation—moments when even my birthplace felt unfamiliar, as if actuality itself had shifted.

Reasonably than translate streets he’s wandered down instantly onto the canvas, Morimoto paints with a cinematic high quality. This pulls the viewer from the acquainted and makes even essentially the most unusual sidewalk seem intriguing. Zeroing in on gentle sources additional helps this imaginative and prescient, and synthetic bulbs change into beacons amid scenes shrouded in darkness. The artist considers how these machines create “a robotic harmony in Japanese urban life” and paints them as characters in their very own proper.

To Nowhere and Again runs from March 14 to April 26 at Almine Rech in Tribeca. Discover extra from Morimoto on Instagram.

a payphone illuminates a dark street
“Last Call” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters
a corner store illuminates a dark street
“Evening Embers” (2025), acrylic and oil on linen, 162 x 130.3 x 3 centimeters
vending machine lights illuminate a dark street with two people in front of it and another in the foreground
“Forgotten Path” (2025), acrylic and oil on linen, 162 x 259 x 4 centimeters. Photograph by Osamu Sakamoto
a vending machine illuminates a dark street
“Waiting Hour” (2025), acrylic and oil on linen, 116.7 x 91 x 2.8 centimeters
a person walks across a crosswalk illuminated by a streetlight
“No Destination” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters
one person sits on a concrete wall while another stands nearby. both are illuminated by a deep orange light
“Evening Embers” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters
a woman on an illuminated stairwell
“Stairs to Nowhere” (2025), acrylic and oil on linen, 162 x 130 x 3 centimeters
an aerial painting of a town with a cat illuminated by a lamppost in the foreground
“The Way Back” (2025), acrylic and oil on linen, 162 x 194 x 3 centimeters
a person on their phone leans on a bike rack in front of a glowing sign
“Missed Calls” (2025), acrylic and oil on linen, 145.5 x 112 x 3 centimeters
a group of people sit on the sidewalk outside a bar lit by a glowing sign
“Gathering” (2025), acrylic on panel, 27.3 x 22 x 2 centimeters

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