• Tentatively titled #72

    In News on

    One of the new pieces…


  • Drawing

    In News on

    Drawing has been always an essential part of making for me.  It can be a sketch to remember ideas.  It can be a brainstorming process to come up
    with ideas.  It allows me to be physically connected to visual ideas.  It’s fun.  It’s also a making process to share the results of course.  In fact, that’s
    how I started.  But I haven’t been so productive in that way lately.  My drawings became paintings and they became sculptures.  But I’ve been hoping
    that I can bring back some drawing.  They are faster and more flexible.  It might show me more ways to explore.  Here are a couple of such attempts.
    The first one was published in “Sensorium”, a first publication by Skowhegan Alliance.


  • An Interview on Japan and Creativity

    In News on

    Recently I was interviewed about Japan and creativity.  It’s a part of Richard Galbraith’s project at Cementum.
    I enjoyed the interview very much.  Here is the link.




  • Elise Ferguson at Halsey Mckay Gallery

    In News on

    I really enjoyed Elise Ferguson‘s work at Halsey Mckay gallery.  She’s very good at clarifying her message
    without killing the subtle flavors.  In fact, there are lots of flavors in the work.  Not many artists really
    understand that those subtle things can give life and integrity to the work.  It’s highly recommended.

    It’ll be up till the end of the month.

    C Sticks by Elise Ferguson
    2011; pigmented plaster and silk screen on mdf panel; 24″ x 18″

    Inverted Formal by Elise Ferguson
    2012; pigmented plaster and silk screen on mdf panel; 24″ x 18″

    Black Joey by Elise Ferguson
    2012; pigmented plaster and silk screen on mdf panel; 24″ x 18″

    Crab X by Elise Ferguson
    2012; pigmented plaster and silk screen on mdf panel; 24″ x 18″

  • Pechakucha Night Hamptons 9/20/12

    In News on
    Parrish Art Museum has an event with ten show-and-tell presentations tonight.
    I will be one of the presenters talking about making sculptures.  It’ll be fun.  I hope to see you there if you
    are around.


    A work in progress
  • Raw + Material = Art

    In News on

    Tristan Manco is known for his books on street art. Raw + Material = Art is his first attempt at surveying contemporary fine art. In his own words, “The idea behind the book is to focus on the natural and found materials and low cost, low-tech methods that artists are being drawn to today. Our aim will be to generally inspire and explore the synergy between the artist’s work and their materials.” He certainly succeeds in presenting his theme in the context of contemporary art and the book does even more.


    When I learned who would be in the book, I immediately felt that another aspect of this book is the  introduction of artists emerging on the internet. For the past decade or so the internet has quietly moved into the traditional contemporary art scene with somewhat varied angles on both artists’ geographical origins and their approaches. Numerous image based sites have been inspiring countless personal sites. We’ve been exposed to many artists not necessarily affiliated with established galleries, museums, and other major art institutions. For the first time in the history of contemporary art, visual art is experiencing the true possibility of democratic participation. It is no longer a necessity to live close to a large city with major galleries and museums to explore some segment of visual art. The authoritative voices of art critics, major art collectors, and major art institutions often do not reach the common ground offered by the internet.


    The new venue is not without its problems. The accuracy of representation through our computer screens will be an issue for some artists. Some art just does not present well that way. The same has been true in music. The proliferation of inexpensive personal devices and compressed music files has been a blessing for some music but not for the others, which I believe has been adding to the sad decline of classical music (Ironically, if you look at the high end audio world, this is the best time to enjoy classical music). Secondly, the emphasis on cheap materials and inexpensive ways of making might not be a coincidence since many of the artists are not supported by the art-as-investment-network of collectors, galleries, auction houses, museums and so on. The generous exposure some artists might enjoy online does not guarantee any form of financial reward. As the world faces the limitations of capitalistic pursuit, the art world and the artists keep searching for practical ways to make their contributions.


    In any case, Tristan has nonetheless done a great job of putting together this wonderful book featuring 38 notable artists today in large format, 256 glossy color pages.  It’s a celebration of the new era with the new artists.  Anybody who enjoys looking around online for fascinating new art will find at least some artists to look at.  I hope you enjoy the book.


    Here are some snap shots of the pages, although they hardly do justice to the beautiful book itself…


    Michael Johansson:  michaeljohansson.com

    Gabriel Dawe:  gabrieldawe.com

    Hiroyuki Hamada:  hiroyukihamada.com

    Aj Fosik:  ajfosik.com

    Klaus Dauven:  klaus-dauven.de

    Elfo:  elfostreetart.blogspot.com

    Ron van der Ende:  ronvanderend.nl

    Rosemarie Fiore:  rosemariefiore.com

    Henrique Oliveira:  henriqueoliveira.com

    Erik Otto:  erikotto.com

    Mia Pearlman:  miapearlman.com

    Peter Callesen:  petercallesen.com

    Luis Valdes: http://www.flickr.com/photos/lpower/

    Felipe Barbosa:  felipebarbosa.com

    Many more artists are included in the book.  All of them are worth looking at.  Here is a list of their websites.

    Felipe Barbosa:  felipebarbosa.com
    Andres Basurto: Atenaestudio.com
    Zadok Ben-David:  zadokbendavid.com
    Robert Bradford:  robertbradford.co.uk
    Peter Callesen:  petercallesen.com
    Monica Canilao:  monicacanilao.com
    Klaus Dauven:  klaus-dauven.de
    Gabriel Dawe:  gabrieldawe.com
    Baptiste Debombourg:  baptistedebombourg.com
    Brian Dettmer:  briandettmer.com
    Elfo:  elfostreetart.blogspot.com
    Ron van der Ende:  ronvanderend.nl
    Aj Fosik:  ajfosik.com
    Rosemarie Fiore:  rosemariefiore.com
    Faile:  faile.net
    Fumakaka:  fumakaka.com
    Sayaka Kajita Ganz:  sayakaganz.com
    Jose Enrique Porras Gomez:  olaganandoespacio.wordpress.com
    Hiroyuki Hamada:  hiroyukihamada.com
    Haroshi:  haroshi.com
    Valerie Hegarty:  valeriehegarty.com
    Luiz Hermano:  Luizhermano.com
    Florentijn Hofman:  florentijnhofman.nl
    Michael Johansson:  michaeljohansson.com
    Anouk Kruithof:  anoukkruithof.nl
    Jae-Hyo Lee:  leeart.name
    Luzinterruptus:  luzinterruptus.com
    Maria Nepomuceno:  victoria-miro.com
    Henrique Oliveira:  henriqueoliveira.com
    Erik Otto:  erikotto.com
    Mia Pearlman:  miapearlman.com
    Lionel Sabatte:  lionelsabatte.com
    Chris Silva:  chrissilva.com
    Lucas Simoes:  lucassimoes.com.br
    Yuken Teruya:  yukenteruyastudio.com
    Luis Valdes:  http://www.flickr.com/photos/lpower/
    Felipe Yung:  flipink.blogspot.com
    Carlos Zuniga:  carloszuniga.org

    Raw + Material = Art is published by Thames & Hudson Ltd (UK) in April 2012



  • Anish Kapoor in NYC

    In News on

    Last week I saw two outstanding shows in New York City. Both of them are by Anish Kapoor (Gladstone Gallery on 21st Street and 24th Street).
    The works are effortlessly graceful with plenty of formal delights and profound weight. It’s great to see his bold yet delicate methods let the
    materials flow and glow in their own rights.

    One show has multiple towers of cement (Gladstone Gallery on 24th Street). Take your time and walk among them. You start to see character
    in each tower and you realize that they are not just random piles. Then you start to see the vision of the artist who let these strange
    magical towers appear (here is an article about the interesting making process).

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    Anish Kapoor at Gladstone gallery, 24th Street 2012

    The other show places a large round steel structure that fills up a large open space (Gladstone Gallery on 21st Steet). You get the “wow” feeling
    as soon as you walk in the room, and as you walk around, you just tell yourself “wtf”. It’s also fun to see how people react to the piece and
    interact with it. It’s great to see people being so happily awed and overwhelmed by the piece. It gives confidence to anybody who loves and believes in art.

    Anish Kapoor at Gladstone gallery, 21st Street 2012

    Anish Kapoor at Gladstone gallery, 21st Street 2012

    Anish Kapoor at Gladstone gallery, 21st Street 2012


    There was one more thing. My friend and I walked in one of the churches on our way to the galleries
    (St. Thomas on 5th avenue). Ah, what a space to get away and immense yourself in the quietness with the church organ.
    Everything just stopped and my mind was reset, at least for the moment.

    A city needs a place like that or great art to make you feel that you are connected to something big and mysterious.  A great city
    like New York has both.

    Saint Thomas Church


  • “of WHITE” at Nuartlink

    In News on

    #56, 2005-10, 41 1/2 x 41 1/2 x 7 1/2 inches, enamel, oil, plaster, tar and wax


    Venturing into the abstract while suggesting simplicity and 

    light, White can create a special harmony and resonance. 


    ~ opening reception February 16th, 2012, 6 to 8 pm


    Nuartlink is pleased to present “of White”, a group exhibition of works by artists

    pushing the boundaries of their media using the limitless color white.

    As contrasting as their approaches are, these artists share the same dialogue. They

    skillfully manipulate their materials to reflect ideas and emotions, encouraging our

    minds to seek a deeper vision of their work.

    Bringing together a diverse range of media, “of white” engages the viewer’s

    intellectual curiosity in exploring the unique visual possibilities “of White”.


    19-b Post Road East, Westport, CT 06880
    (Parker Harding Plaza – Entrance next to Starbucks on the river)
    Tuesday- Sunday 11-6 p.m. and by appointment




  • Liganova interview

    In News on

    Last year I was interviewed by a German company Liganova which is starting an art collection.  They have published a couple of publications based on the interview:  One for their newsletter and one for their newly launched Ligastudios.

    Here is the original interview unedited with extra pictures.


    Photo by Richard Foulser


    How and when did you enter the art world?

    – tell us about your life in Japan


    I always liked making things when I was a kid. But I didn’t grow up in a family where that sort of stuff can be your job. My dad worked in Tokyo and commuted from our suberban house 1 1/2 hours away. I grew up to be a typical teenager: angry, feeling alienated for mostly immature reasons. Then my family had to move to the US for my dad’s job (I was 18 then). I got to be a minority in the US (we moved to a little town Wheeling, West Virginia) and I had to struggle to communicate . It was traumatic but also pretty funny if I look back now… I think every teenager should go though that. I think that set me up for pursuing art. I learned some English and I decided to go to a local community college where I met a teacher who showed me what you can do with art. He showed me that putting together lines, colors and etc. on a piece of paper can be like making music or writing stories. I was very naive, ha ha. And he was very good. I was good with my hands but I never knew how to put things together to make it really speak; I never knew that you could put words in between the lines and make it all deep and profound visually, you know? And I totally got hooked. After that I was basically stuck in studio drawing, painting and etc…


    Why New York? What did you think New York would give you that Japan didn’t at that time?


    I moved around quite a bit before I came to the NY area. In the US, there is this great thing called “artist residency”. You tell them that you are an artist and if they like what you do, they’d let you stay and give you a studio. Some places even pay you to be there. I even met my wife at one of those places. So, after I got my MFA, I was basically half homeless moving around those places. Can’t imagine how I did it now but I didn’t really care much except for what was going on in my studio (my wife would tell you that I still don’t ha ha). And after a while, I wanted to really show my work. And naturally NYC was the place to go. Back then (It was around 1997 or so) and probably now too, the numbers of venues you can show and artists population in NYC area were just staggering compared to other places. If you go to one of those residencies, you’d be amazed to see how many of the artists you meet would be from NYC. But today I wouldn’t care too much about where I work. The work comes first definitely.


    How did the NY art scene meet a young Hiroyuki?

    – were you already having pieces as you came to NYC (you were 18, right?)


    Coming to NYC, well, actually it wasn’t NYC. After a couple of weeks looking for a cheap place which doesn’t exist in NYC, I settled with a good sized space across the river in NJ. It was one of the sweat shop buildings in a big Cuban community. So it wasn’t really NJ either; it was Cuba. It can be seedy but it was mostly mellow and warm. I heard more Spanish than English. I remember the first taste of chicaron (what a concept, deep frying a chunky pork belly) and good cuban coffee. Have you had Cuban sandwich? The crispy bread outside and exquisite mixture of melting cheese, rich fat pork and the great accent with the pickles? Anyway, as soon as I got there I sent out slides with nice cover letters to galleries that I found to be good. I think I sent a couple of dozen. And they all came right back saying basically get lost, ha ha ha. The only place that was willing to show my work then was OK Harris Works of Art. I heard Ivan Karp would look at your work. So I went. I showed him slides and he said he would do a show with the first look. I wasn’t sure what he meant so I tried to show him the painting I brought, too. Then his son, Ethan, said “No, you don’t have to, he’s giving you a show . That’s good. He doesn’t even have to see it.” I still remember that well. They did my first solo show in NYC.


    One of the older pieces (#7, 1996, 16 x 16 x 4.75 inches, burlap, enamel, plaster, tar, wax and wood)


    Do you have a favourite show-space in NYC where you often go?


    Well, I’d love to say this museum or that gallery but every time I have extra time in the city, I just end up walking around watching people, looking at interesting ads, graffitis or buildings… NYC is just amazing visually in general.


    When did you have your first exhibition and knew you are really getting into the spotlight?


    Hmm… I don’t think I’ve felt that before… It’s really about myself and the work when it comes to shows. I am an audience too and there is nothing else better than to feel the impact of everything in the show working together to move you, and to see it happening as you place the work and do the lighting. I totally feel the spot light then, but it’s on the work, not on me.


    Have you ever played with the idea of opening your very own gallery? How do you choose where to show your work?


    I guess these questions are sort of like the front and the back of a same coin… I would want to open a place where I would want to show myself too but then I’d realize how tough it is to do it well. You have to have a space that maximizes the experience. You would want to treat the artists well and be capable in doing the right things. And what do you do with the expense that can be enormous? It’s easy to see that finding good places to show can be hard… So when I try to think about where to show I really can’t plan and wish for exactly what I want. It’s more like depending on my gut feeling and going with the venues that make me feel like I’m doing good to people who like the work. That often works for me. And I also don’t underestimate the people who try hard to make the show great. There often are happy surprises.

    An exhibition shot at Roger Williams University Gallery


    What does your art reflect the most? (you, your vision of the world, the world itself)


    I think everything counts really. But one thing that’s really sure is that I get motivated to go to the studio by what’s happening in my studio, and working there gives me more ideas and directions. So it’s like exploring what’s possible visually with what I do in my studio. As I learn, I get these layers of ways to deal with visual narratives and new vocabularies also develop, and as I keep going, I come out with more ways to see things differently.


    From what I know, you have started with drawing – how and why did you do this shift to sculpture?


    I think I wanted the experience to be more articulate and immediate. I do still like the suggestive, gestural quality of drawings I used to do but it’s also so gratifying, so mysterious and so strong to grasp those qualities as much as I can and tell it in 3D with every detail. How it actually happened was that, first, I picked up on the object like quality of drawings. It’s like seeing them as they are with their distinct presence with every imperfection as theirs, instead of seeing them as a picture of something that is supposed to be dipicted. I think a big part of modern/contemporary art has to do with this realization and appreciation of taking visual experiences as they are. In a way it’s sort of primitive compared to, say, like music. That led to paintings with textures and irregular edges. Then, they started to grow off the wall. At some point they were more like sculptures.


    Photo by Evan Harris


    Do you listen to music when you are working or perfer it to be in quiet?


    Sometimes I do. I think the music can shift my mood to get things going. Or the rhythm can be nice to keep the physical work going. But there are moments I have to keep it totally quiet. My guess is that certain processes need certain brian activity and sometimes music interferes with that… But I do love music.


    If you happen to put on tracks while you are working, which artists, bands, etc. do you listen to?


    Oh, that could be anything really. Lately, I’ve been really liking this band from the 70s called Popol Vuh. It sounds sort of familiar but it also sounds totally out of this world. The mellow speed and the atmosphere seem to work for the pieces I’m working on. I grew up listening to lots of aggressive band music and I still have a soft spot for it. For example, someone posted at Facebook the other day this band called Up Front, and I’ve been enjoying listening: it sounds sort of like Minorthreat, a lot of energy and there is a pleasant innocence about it. I’ve been listening to lots of classical music for the past years also. The level of development in non-descriptive expression in the field is just amazing. It’s such an inspiration and encouragement for working in the visual field. Ah, I can just keep going about music…


    I am so sorry, I know artists hate this question, but I simply HAVE TO ask this:

    where do you take your inspiration from – nature, art, architecture?


    I think anything can be inspiration if you are talking about how I get motivated to work: Anything that got put together well to have a cohesive whole that functions more than its parts. Like, you wake up and go outside and suddenly feel like the way the sun hits your face just explains everything about why you still want to be alive. You feel so fulfilled and happy. It’s just the same old sun and same old self in the morning but somehow the combination means something to you… And that can be a good inspiration. But like I said, it’s mostly the developments in my studio that inspire me to go further.


    Do you take decisions on the materials you will work with before you start with a piece or doese the piece itself tell you what materials to use?


    My work grew out of paintings so the idea of materials dictating the pieces is sort of new. I always thought it’s natural to paint every bit of surface to make sure it goes with the form. So far I’ve been mostly using plaster shells on foam/wood structures to paint on for all practical reasons (cost, ease of use and so on…). For a long time, I didn’t understand sculptors talking about materials with almost religious intensity. I mean, why would you expect a surface which is hardly uniform or predictable to do what it is supposed to do? Now I understand the seductiveness of the materials and the convenience and the thrill of counting on happy surprises and so on but I still like the flexibility and the super real presence which a meticulous paint job can present. So if you see different materials in my work, they are most likely painted or stained that way.


    A stained plaster piece looking unlike plaster.  #68, 2007-09, 41 x 23 x 20 1/2 inches, enamel, oil, plster, tar and wax


    Do you as an artist have a favourite artist?

    please give some examples of artists you like from different epoches, different styles, etc.


    Hmm… That’s tough… I’ve got my own interest in process and direction and I look at my work with that all the time so my capability of appreciation is somewhat skewed I’m afraid. Also, when I started out, I meticulously tried to avoid doing what other people were doing. I was sort of afraid of getting influences I guess. Also, I have a rather more standoffish relationship with visual art than, say, with music. I would be often totally taken by music, almost getting drowned with the pleasure. But when I look at visual stuffs, I’m often more objective in general. More interested in seeing alternate ways and investigating than consuming it for pleasure perhaps… I think it’s only in the past a few years that I’m becoming more open to seeing and enjoying as I feel more grip on my own work. But I’ve always enjoyed Martin Puryear’s work. I like the forms he works with. The way the work relates to you in the space is also nice: And the subtle playfulness he puts. I also like Anish Kapoor’s work. I saw his Bean piece in Chicago a few years ago, and it was so encouraging and happy to see people totally being fascinated with it. I mean, I saw people literally dancing around it and having fun being with it. And I also enjoy lots of figurative works. That’s what I started out with myself (I used to love doing figure drawing). I think Basquiat is just a marvelous painter. The sense of color, the way he composes in such striking ways, the confidence in lines with such fragile subtlety and doing all that with such spontanaity is just amazing. I see many others that I enjoy online, people like Kris Kuksi, Ron van der Ende, Eddie Martinez, Christina Bothwell, Blu, Jen Stark, Karim Hamid, just off my head randomly…, and many more I guess… I just had fun seeing the Nick Cave show in NYC. When I was in school, I looked at artists like Jesper Johns, Rauschenberg, Kiki Smith, Eva Hesse, Tapies, Louis Bourgeois, and so on. But they all came in through other students’ works that sort of emulated them. It’s interesting to learn that way. You see what the essential qualities are for the students and you experience the first hand account of dealing with the materials…


    You don’t give titels to your work – why?


    I’m really interested in what I get by combining visible things, and I don’t want to make it about stories, references, symbols and such, at least not on the conscious level. I mean, I want the visual language to hit your guts hard, not the theories, anecdotes, or background stories sort of making you feel something in wishy washy ways. And also I don’t want to limit the work inside of my narrow cultural and social constraints. So I figured the easiest thing I can do to put the focus on the substance is not to work with those things. If they creep in, I just try to stay away from them. It’s very inefficient but it’s very effective when it works. I think I can get to the bottom of what we are that way. So not giving them descriptive names is a way to make sure that it doesn’t imply things aside from what the forms are doing. But it’s probably something to do with my laziness too. I know that you could come up with titles that can enhance what I’m trying to do… So oh well…


    #59 (detail), 2005-08, 20 diameter x 36 inches, enamel, oil, plaster, tar and wax

    #59, 2005-08, 20 diameter x 36 inches, enamel, oil, plaster, tar and wax


    Where do you take your friends to when they are coming to visit you in New York?


    I don’t know… I’ll ask my Facebook friends, ha ha ha. I don’t get to eat nice exotic stuffs out in Eastern Long Island where I live, so I might try to convince them to go for nice Vietnamese, Thai, Korean, Indian or Chinese… If you are talking about food that is. I used to like walking around in Chinatown looking at fish, veggies thinking about cooking. Nice sushi would be good too. If there are good shows, gallery hopping in Chelsea is also nice. But like I said, what I like to do there is just taking a walk looking at things, people, buildings and etc. I always see interesting things in NYC…


    How do you relax? What do you do in your free time?


    I go to my studio ha ha ha. I can always work on something… I have an electric guitar set up and I have fun with that sometimes. It’s a nice thing to bounce on when I feel like I am stuck with my work. Or when I just have the urge. I think I have some sort of addiction to loud, distorted guitar sound… I also keep sketch books everywhere and I like to draw shapes and things when I have time. Also, my wife and I watch TV shows sometimes. We’ve been enjoying “Breaking Bad” lately. What a fabulous show.


    What do you get to read MAGAZINES or BOOKS more often? Which are your favourite magazines?


    I haven’t read any magazines for a long while… At least not the actual paper versions. I really depend on internet for news and articles now. I used to read lots of books too and I aways had a big pile next to my bed, but not much reading lately. It’s just that the time is limited since we got two small kids. But I’ve read a couple of Malcom Gladwell’s books recently and I really liked them.


    Which 2-3 names in the fashion industry from former era do you see as iconic?


    Hmm…you got me. What can I say. I’m the kind of guy who shows up at my own opening in a Dickies jump suit making my wife’s eyes roll with dismay…


    Photo by Evan Harris


    Who are the most influential names in art today?


    Not the individuals, but I think TV shows and movies totally rule on that. And in terms of the impact and the quality too perhaps. I don’t get to watch many but some shows I’ve watched are just amazing: Like Breaking Bad, Wire, Sopranos, or some episodes from Battlestar Galactica, for examples. You get great writing, camera work, acting, set design, music, sound effects, visual effects and on and on. I just think the total experience from them is the culmination of art history on the planet. Have you watched District 9? Just amazing.


    Which of them has left an imprint on your style (if at all)?


    Well, things get in me and I must express something in my work, but like I said, I don’t make my work about anything specific so that’s something I can’t really answer…


    What are you working on right now?


    Right now I have 4 pieces in progress. They seem to be freer into space and they speak a bit more as shapes. I’ll see how the surface gets treated. I started out as a painter so working with the surface is a very special and fun process for me. I’ve been also trying a few resin materials instead of plaster since the pieces are a bit bigger and more complex.

    Snap shot of the studio 1/21/12 (iphone photo with Autostitch)




  • ArtBBQ

    In News on

    I really like Ron van der Ende‘s sculptures.  They are just great for what they are, but I personally feel closeness to his work since I share some of the visual concerns in my work.  I got to know him a little through Facebook and he has asked me to participate in his annual studio music playlist, ArtBBQ.  More than 40 artists have come up with lists of albums they played in their studios in 2011.  I’ve been busy checking out new music there.

    Ron van der Ende Corsair 2010 bas-relief in salvaged wood 180 x 87 x 12cm


    Studio Playlist 2011 #27 : Hiroyuki Hamada

    Popol Vuh – Tantric Songs / Hosianna Mantra
    Dar Williams – Mortal City
    Fact – Fact
    J. Mascis – Several Shades of Why
    Sigur Ros – ( )
    Jonsi – Go
    Up Front – Spirit
    Adrian Belew – Salad Days
    Child Abuse – Cut and Run
    Buzzard – Exercises & Transmutations of the applicable techniques for the chrome-plated mystical squeegie of destiny
    Plan B – The Defamation of Strickland Banks
    Pendulum – Hold your color

    In between above and many more I listened lots of classical music (late Beethoven string
    quartets, Mahler and Bruckner symphonies, Chopin and so on and on) and various electronic
    music of sorts.

    My studio with a few pieces in progress.  I’m hoping that I can finish a couple this year…

    Hiroyuki HamadaStudio Playlists 2011