Asako Tabata’s artistic prowess shines through in her ability to blend humor, tenderness, and a sense of nostalgia into her works. Such attributes are often elusive in Euro-American depictions of grief, especially in relation to the passing of a loved one—a theme that resonates deeply in her poignant collection showcased in Waiting for Bones, the latest solo exhibition at Seizan Gallery. The recent loss of her mother has spurred a profound contemplation for Tabata concerning mortality and her own impending death.
The exhibition features nearly 60 diverse pieces ranging from a series of collages that artistically mimic the Japanese cultural practice of honoring business cards (or meishi), to evocative oil paintings such as “Bye Bye” (2024) and “Waiting for Bones” (2025). Among the highlighted works is an impressive free-hanging papier-mâché sculpture titled “Ascending to Heaven” (2025), resembling a dark shell with portals revealing solitary women adrift in boats.
The narrative arc crafted by these three significant works forms a circular yet surprising exploration of life’s cycles—from death and farewell to the journey of cremation and the uncertain ascendance to an unseen paradise. In this, “Ascending to Heaven” remains suspended in mid-air, with figures resonating against the imagery in “Bye Bye.” Here, the central character is depicted standing in a boat, her hand raised in a poignant gesture of goodbye. Conversely, a larger hand stretches downward, fingers splayed—a powerful image of letting go that carries several interpretations, reflecting shared mortality and the instinct to see one another off in death.
Tabata’s journey into introspective solitude leads her to a confrontation with mortality that is unexpected and compelling. In the midst of creating “Waiting for Bones,” she pondered:
When I become bones, how sad it would be if no one were waiting for me. As I painted, I wondered—do the living wait for the bones, or do those who have passed on wait for us? In the end, I felt it didn’t matter. So I decided that I could wait for myself.
Even when addressing weighty themes such as her mother’s demise and her own mortality, Tabata skillfully sidesteps typical expectations. Her unique viewpoint presents these profound topics straightforwardly, exposing her complex emotions. The figure portrayed in “Bye Bye” is both distinct and universally relatable. The sparse details on her face mirror the bittersweet fading of visual memories, while the muted colors harmonize with the chaotic emotions that underpin human existence.
Another intriguing piece, “Hello,” crafted from papier-mâché, depicts a gray-haired woman clad in a modest, sack-like dress, awkwardly holding a cell phone away from her ear while seated on an insubstantial slat supported by fragile legs. Each element of this sculpture emphasizes her emotional fragility: the thin legs, the precarious distance of the phone, and the haunting verticality of her dress create an unsettling portrayal of vulnerability.
Regardless of their size or material—including repurposed wood, canvas, and papier-mâché—Tabata’s creations excavate an intrinsic feeling that defies simplistic interpretations. Each work resonates with nuanced depth, inviting viewers into a complex inner world that enriches the broader discourse on mortality and memory.
Asako Tabata: Waiting for Bones is on view at Seizan Gallery (525 West 26th Street, Chelsea, Manhattan) until October 18. The exhibition has been thoughtfully curated by the gallery.
