Exhibitions at the Saatchi Gallery are usually very uneven. It’s worth seeing the current PAPER exhibition for one artist alone.
Yuken Teruya takes paper shopping bags, cuts out the silhouette of a tree from one side, and folds this tree into the interior of the bag – creating a magical space, an enchanted forest, an unexpected sanctuary. It’s not unusual for a contemporary artist to re-use discarded materials, but there is something extraordinary about these exquisite creations. It’s impossible to capture the depth and light on camera.
They remind me of the creations we would make as children – imaginary world’s in boxes – and of the window displays you see in some of the fancy department stores.
The second photo shows you the McDonald’s bag from above – how two sides of the tree are cut out and folded down separately (back and front) and then merged into a three-dimensional form, still attached to the side of the bag, so that it really is a single bag still. All of this with just scissors and glue.
Do take a look at his website. And do visit the Saatchi if you are around central London (it’s free and 2 minutes from Sloane Square).
Here is the blurb from the Saatchi Gallery site:
The detritus of urban life has long provided material solutions for artists; in Yuken Teruya’s work, the discarded becomes the site of poetic transformation. Shopping bags – in some ways the emblematic item of rampant consumerism, one-use receptacles quickly ditched – are placed within the gallery at a ninety-degree angle, their ends to the wall, becoming peepholes for one viewer at a time. Their dark interiors are speckled with light from holes cut into the bag’s paper surface; the shape of the hole is that of a full-grown tree, so the bag becomes both stage (with its own lighting) and source of imagery.
Stooping to encounter each work, the viewer is obliged to reimagine the nature of the receptacle: it’s changed from a passive to an active space. Each tree is painstakingly cut, its leaves and branches described with exceptional care, and each bag derives from a slightly different source (sometimes highend fashion boutiques, others McDonald’s), which stages the tree’s connection to the natural world in divergent ways. At times, as inGolden Arch Parkway McDonald’s (Brown), the bag’s mellow ochre tones evoke autumnal shades; at others, such as LVMH Mark Jacobs, the black bag lends the tree a doomy and gothic aspect. Reversing the flow of industry from tree to paper, Teruya’s work has an environmental sensitivity that’s hard to miss. It’s also a poignant assertion of the role of the creative artist: as someone who finds meaning amid the morass of stuff we leave behind.