Renowned abstract artist Shingo Francis brings his captivating and colorful paintings to the Frederick Harry Gallery.
Born in Santa Monica to a Japanese mother and an American father in 1969, Francis’ distinctive cultural background weaves its way into each brushstroke.
The many places he has called home, from Santa Monica and Los Angeles to Tokyo and Kamakura, leave their imprint in his blue abstracts and riveting monochromes.
Inspired by California seascapes and blue pottery and paintings collected by his Japanese grandfather and mother, Francis, who graduated from Pitzer College in California, has long been fascinated by the visual interplay of light, color and space on the canvas.
This is evident in his “Interference” series of works, which will be on display at the Frederick Harris Gallery this month.
Some Members may recognize Francis’ work from the two stunning pieces hanging in the Nihonbashi Club’s 1673 private meeting venue.
The son of Sam Francis, a well-known abstract expressionist, Francis has exhibited across the world and has a Fumio Nanjo Award to his name. His first-time exhibition at the Club is a must-see.
Artworks are available for purchase through Member Services.
Moment I realized I wanted to become an artist.
As a teenager, I was first inspired to become a writer or poet. My father had a large collection of books in various subjects, such as English literature, mythology, psychology and poetry. A particular book, Songs of Innocence and Experience by William Blake, fascinated me with lyrical poems and drawings about the innocence of a child and the deep and vast subjects of the world. I didn’t quite understand them at the time but felt that there was a truth or insight to glean from the poems. I learned to appreciate the potential of writing and art being a vehicle for revealing what is not so apparent but extremely important to realize.
What I would tell my 20-year-old self.
I would tell my 20-year-old self to understand that an art practice develops over a long period of time and to think more long-term about how your work will express what you want it to. What you want to say changes over time in ways you cannot predict, so there is no point in being anxious whether your current work is a culmination of everything you want to say.
My perfect creative environment.
To have nothing between myself and the work in front of me is important for concentration and for the connection between the image/object and my energy.
Artist, living or dead, I’d most like to share a meal with.
I would like to share a meal with William Blake.