Place and landscape are strongly present, yet rather than depicting specific locations, the paintings allow the gaze and the body to enter the landscape itself — moving closer to the subject and then withdrawing again, gradually shaping a felt sense of space. This shifting proximity produces a quiet recalibration of the viewer’s position where distance is never stable but continuously negotiated. Figures, landscapes, objects and architectural details appear partially detached, occupying uncertain spaces that feel simultaneously familiar and remote.

The title Dislocation reflects not only the thematic atmosphere of the exhibition, but also Nishimura’s material process. Tonal compositions in earthy, ochre colours are at once anachronistic and nostalgic and emphasise conditions of waiting, distance and interior suspension. This sense of dislocation is further reinforced through Nishimura’s palimpsestic method of painting. Earlier gestures, collapsed images, erased forms and compositional corrections remain visible on the canvas and coexist with accrued layers of pigment and time. Familiar environments are carefully destabilised through shifts in scale, perspective and ambiguity. The artist describes this process not as pursuing completion, but as sustaining an ongoing dialogue with the painting, where destruction, revision and incompletion allow opportunities for new forms and meaning.

The exhibition also reveals a subtle tension between personal memory and collective imagery. Family photographs, fragments of urban landscapes and anonymous solitary figures are reconstituted in atmospheric environments. Even moments of apparent stillness retain an underlying sense of movement or psychological drift. Rather than presenting coherent narratives, Dislocation constructs a field of discontinuous relations — between foreground and background, past and present, intimacy and estrangement, image and memory. It is within these shifting conditions that the exhibition’s title finds its most precise articulation: not as rupture alone, but as a state in which perception, identity and painting remain in continuous flux.