Takako Oho was born in Hyōgo Prefecture and raised in Hiroshima. She graduated from Tezukayama Gakuin University's department of aesthetics and art history, studied mosaic art at CISIM (Ravenna, Italy), Kaus urbino (Urbino Italy), and engraving at the Art College of Hiroshima. She mainly creates engravings (intaglio), mosaics, paintings and sculptures. In addition to copper plates and aluminum plates, she is currently researching monotype printing with plates made of styrofoam as her medium. This practice takes traditional methods as a foundation which she mixes with original techniques. There's great significance in inheriting the tradition of copper-plate etching. The wisdom of pioneers and the histories of people imbue deep meaning in work produced with this 600-year-old technique. Still, Oho believes that what's most important is to find a path of one's own and to have one's own ideas. It's particularly in that vein where copper-plate etching has its appeal. At times it runs along the lines of a hardness or a softness, while at times it could be more along those of a warmness or a coolness, just like a melody in music. Or in the world of make-believe, it's telling a story of something romantic and dreamy.
There's a sense of somewhere strange and mysterious in Oho's works, which she produced under the theme of 'paradox'. Here, rather than representing contradictions of dualistic nature, her works are expressions of a world containing all manner of thoughts. From her childhood, Oho's delight in art and music soon grew into infatuation, and music took on a special role in her life. She realized sound as a source of inspiration that, at times running across the world of films and novels, could string through any subject matter and connect together any element – from scents to sceneries to the natural world. In other words, all of what she conceptualizes stems from music that weaves through her perceptions, opening up and ultimately tying together her visual art practice. The subject of 'reflection' in the present exhibition refers to reverberation or resonance of such things as light, heat, sound and image. It's also significant of a paradoxical relationship between the co-existing material and immaterial worlds. In her work, certain perceptions and intentions (for example, those of water and fire, light and darkness, or liquid and solid) exist side-by-side as conflicting and dissenting sensations. They each resonate a distinct beauty, which is, in essence, what makes a paradox so enchanting. Just as engravings, like photographs, are inverted representations, what we humans actually see in the mirror is never our selves. It's hard to forget that fact that almost seems to be between reality and dream. In these works, what is paradoxical is revealing of the expanse, like worlds that grasp a greater truth.