YUKO SAKURI (1970, Tokyo, Japan)

Early encounter with art in the studio of her father, Toshio Sakurai, a sculptor. After training as a French Pastry-cook, Sakurai worked for eight years in her hometown in this profession. Doing this work she claims that the foundations were laid for the careful workmanship and the awareness of material which characterize her later works. Departing from Rietmeyer’s artistic approach, Sakurai worked out the concept of her own art in 2001. After close examination of Robert Ryman’s painting and impressed by the work of land artist Hamish Fulton, she began making series of relief-like structured, often multi-part works. She wished them to be understood as the expression of her emotions caused by experience or remembrance of landscapes. Especially formative was, apart from her Japanese roots, the experience of the grandiose American landscapes, especially those of Utah and New Mexico, during a journey from Miami to Los Angeles in the summer of 2002. Unlike Ryman’s analytical research of paint and picture carriers, for Sakurai the structure of paint, mostly applied in many layers, as well as the object-like character and the materiality of the picture itself serve as carriers of expression. The theoretical confrontation with certain works of Gunter Umberg led her in 2002 to slope the sides of her works in order to bring about what she considers an optimal balance between the surface and object shape. Sakurai sees her work not so much as research in the field of painting, but rather as objects, whose haptic qualities of material and surface-relief are at least as important as their visual characteristics. Thus, she understands her work as a means of communication, which establishes a direct, even physical manner of contact to the viewer, and for this reason, strives to achieve an intense emotional effect. – Since 1999, she has been living alternately in the Netherlands and in Miami Beach, USA.

2011    "Personal Structures", 53rd Biennale di Venezia, Venice, Italy.
2010    "Personal Structures Time-Space-Existence", Georg Kargl Fine Arts, Austria
2010    "Personal Structures Time-Space-Existence", Kuenstlerhaus Bregenz, Austria.
2007    "Time", Arti et Amicitiae, Amsterdam, Netherlands
2006    "Personal Structures", Lukas Feichtner Galerie, Vienna, Austria
2006    "Personal Structures", Galerie Engl, Innsbruck-Hall, Austria
2006    "Personal Structures", Galerie Lausberg, Dusseldorf, Germany
2006    "Personal Structures", Gallery Camino Real, Boca Raton, USA
2005     "Personal Structures", Ludwig Museum, Koblenz, Germany
2005    "Personal Structures", Vadnai Galeria, Budapest, Hungary
2005    "Personal Structures", City Gallery White-Cube, Osaka, Japan
2005    "Personal Structures", K+K, Amsterdam, Netherlands

2008    Personal Structures "Existence", Tokyo, Japan.

• De Jongh, Karlyn & Sarah Gold, PERSONAL STRUCTURES: TIME SPACE EXISTENCE 2, Global Art Affairs Foundation, 2013
• De Jongh, Karlyn & Sarah Gold, PERSONAL STRUCTURES: La Biennale di Venezia 2011. Exhibition Catalogue for PERSONAL STRUCTURES, part of the Venice Biennale, at Palazzo Bembo in Venice, 2011
• Lodermeyer, Peter, Karlyn De Jongh & Sarah Gold, PERSONAL STRUCTURES: TIME SPACE EXISTENCE, DuMont Verlag, Cologne, Germany, 2009
• Lodermeyer, Peter, Personal Structures. Works and Dialogues, GlobalArtAffairs Publishing, New York, 2003