Nymphal Membrane
Juri Akiyama 
15/10/2021 - 17/10/2021
Kyojima, 3 Chome−13−7, Sumida City, 131-0046 Tokyo
Open: 12.00 -  7.00 pm 
Painterly protrusion #2, 15.5 x 12 x 8.2cm, oil on beeswax(蜜蝋に油彩), 2020
ONA project room is excited to announce its new collaboration with a painter Juri Akiyama who will present with us her solo show from October 15 (fri) to 17 (sun).  
The exhibition presents artists' recent artworks. Her beeswax supports are often made by casting the surface and spaces of existing objects/architecture, through which the artist questions and explores the concept of painting, its surrounding, and, most importantly, the concept of “mottai (勿体)". 
For the occasion of collaboration with “ONA project room”, Juri has also created some new works to touch on the subject of women. 
This October we are looking forward to welcoming you in our space at the occasion of this new collaboration! 
Nymphal Membrane
In this exhibition, the artist will exhibit her recent beeswax pieces, through which she visualizes and materializes negative spaces of objects and architectural spaces surrounding her life as her painting surface. Regarding the tradition of beeswax as a material for anatomical models and samples, she creates for herself a pseudo-parodic surfaces through preparing her ground by using casting as sampling. Through loading the exhibition space with negative spaces, the artist attempts to unwind the relationships of image and contents, ideal and record, and the grammar of our gesture surrounding the original objects. 
ONA project room (オナ・プロジェクト・ルームはこの度、20211015日(金)17(日)に秋山珠里による蜜蝋の地の上にペインティングを施した作品を展示開催します。
Invisible Cloth, 120 x 140cm, acrylic and paper on wood(アクリル、木材), 2020
 Label Painting #1, 40 x 30 x 10cm, beeswax and wood(蜜蝋に木材), 2020
Noli Me Tangere, 250 x 180 x 90cm, oil on beeswax and wood(パネルに蜜蝋に油彩), 2021
About the artist:
Juri Akiyama received her BFA in Rhode Island School of Design (2015), MFA from Global Art Practice of Tokyo University of the Arts. Having the concept of “mottai (勿体)*” as her main theme, she explores its various subtopics through her painting practice. She experiments with motifs such as cigarette boxes, labels, box and creates pesudo-parodic space/ground for painting. In recent years, she has been using beeswax to cast her painting support.
*Mottai is a word that she extracted from common Japanese phrases such as mottai-nai and mottai-buru, in which, strangely, the meaning of mottai is almost never questioned. What can be inferred from these phrases as the meaning of mottai is could be “the ideal state of how things should be”, which can never be reached. Indeed, in the structure of the aforementioned phrases the word mottai is negated—it becomes perceptible only by being impaired, and its existence could only be suggested as a negative space. 
Back to Top