Kazuo Nakamura emerged in the post-1950 Canadian art milieu at a time when modernism was a hotly debated issue. Although he was associated with Painters Eleven during much of that decade, his work was seen as different, less a painterly expression than a precise introspection. From the outset, Nakamura's interests included not only compositional innovations but also issues of science in order to understand the building blocks and foundation of nature, without being a pictorial "naturalist". This exhibition and retrospective view focus on two important bodies of work: a formative period of painting from 1954 to 1964, and his exploration of number structure systems that began in the mid-1970s to the present (2001). Preface by David Aurandt. Acknowledgements and essay by Ihor Holubizky. Translation by Simone Auger and Elizabeth Schwaiger, with thanks to Mortimer Schiff.

Ihor Holubizky is an art historian and curator. He has held several public gallery curatorial positions, including curator at The Power Plant Contemporary Art Gallery, Toronto, and the Art Gallery of Hamilton and has been guest curator for retrospective exhibitions of Don Jean-Louis, Walter Tandy Murch, and Kazao Nakamura at The Robert McLaughlin Gallery, Oshawa. Holubizky holds a PhD in art history from the University of Queensland, Australia, and has contributed writing to numerous publications on historical, modern, and contemporary topics in art and culture in North America, Europe, Australia, and New Zealand. He lectures on a wide range of topics across Canada, the United States, Brazil, and Australia.

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