I curated a painting show titled Three Painters at Duck Creek for the Arts Center at Duck Creek. The show went up on August 8th, 2020. It will be on view through August 30th, 2020.
Last year, there was an exhibition of my own paintings at the barn at Duck Creek. It was challenging, but it was also very rewarding. The warmth of wood, the irregular elements of patched walls and the natural elements of the historic site define this attractive venue. I live seven minutes away from there. I care about the place and I wanted to organize a show that people in the community could truly enjoy.
To me, the process of painting involves honesty, dedication and patience. It allows us tremendous freedom, but it also forces us to work with all elements with fairness, keen observation and a broad view to grasp the wholeness. We become one with the momentums, dynamics and mechanisms within the visual structure, which is built by our dialogues with the visual elements. Our paths become the work. The work therefore is authentic in a way, and it can capture a profound something that can resonate with our soul.
The work of the three painters that I selected for the show somehow share the above quality. They can be complex but they also convey solid cohesiveness. These three artists are versed with their own visual languages and they all speak to us in their own ways: but as they harmonize colors, shapes, lines, and layers, they reveal profoundness that goes beyond the framework that binds us as “civilized” beings, yet often as alienated beings. Their paintings have the power to move us unconditionally if we care to listen.
I thank Duck Creek for giving me an opportunity to organize this show. It has been rewarding on many grounds.
In order to introduce the artists to the Duck Creek audience, I interviewed the three painters. We talked about how they get started, their processes, their philosophy on art, and more.
At the Duck Creek barn, the interviews are available in a booklet format.
Elliott Green (b. 1960 Detroit, Michigan – firstname.lastname@example.org). He attended the University of Michigan, where he studied World literature and Art history. He moved to New York City in 1981 and has been awarded a John Simon Guggenheim Foundation Fellowship, the Jules Guerin Rome Prize at the American Academy in Rome, a Pollock-Krasner Foundation Grant, a Marie Walsh Sharpe Foundation Residency, a The Peter S. Reed Foundation Grant, a residency at the BAU Institute, Cassis, France, a MacDowell Colony Residency, and three residencies at Yaddo.
Eric Banks (b. 1954 Brooklyn, NY – email@example.com) Brooklyn-native, Banks lives and works in Rhinebeck, NY. In 1977, he obtained his B.A. from Queens College of the City University of New York, NY. After receiving his M.F.A. from Maryland Institute College of Art, Hoffberger School of Painting in 1981, Banks was awarded the Pollock-Krasner Foundation Grant, Edward Albee Foundation Grant, and Walters Fellowship. Banks has exhibited nationally; most-recently, his work has been on view at NYC galleries, such as Amos Eno Gallery and Sideshow Gallery.
Sean Sullivan (b. 1975 Bronx, NY – firstname.lastname@example.org) lives and works in the Hudson Valley, NY. He received the NYSCA/NYFA Artist Fellow in Printmaking/Drawing/Book Arts Grant in 2017. He has participated in group exhibitions at the Samuel Dorsky Museum of Art at SUNY New Paltz, NY; the Markus Luttgen Gallery, Cologne, Germany; and the Museum for Drawing, Huningen, Belgium.
Here are images from the show.
Here are some images from Drive By Art.
More info for Drive by Art, an art event organized by Warren Neidich
My recent essay was made available during the event:
Lockdown Therapy for Capitalism
by Hiroyuki Hamada / April 28th, 2020
In Art, Artist, Capitalism, creative process, Culture, Exhibition, Installation, new work, News, Sculpture on
I’ve been asked to participate in an outdoor exhibition titled Drive By Art organized by Warren Neidich. It takes place on the eastern end of Long Island where I’m located. Artists come up with unorthodox ways to show art, and hopefully the event generates constructive discussions on the extraordinary situation we are in. This gives me an opportunity to try placing three of my sculptures outside, which I haven’t done before. Yesterday, my wife and I looked around the woods by our house and discussed how we go about it. We went ahead and placed one of the pieces at a spot my wife noticed. It was eye-opening to see the piece liberate itself at the spot. What a way to interact with nature. Of course, this is hardly new—countless artists prefer to show their work outside—but it’s better late than never. Oh well. We plan to place one right by the road,and we haven’t decided about the last one yet. Pretty exciting. The event takes place on May 9th and 10th, Noon to 5pm. Around 50 artists will participate. I will also make my recent essay available hoping that it will generate some discussions among us.
Please go to the website for more info:
Here are some images from the Bookstein Projects show. The show is up till February 15, 2020.Bookstein Projects60 East 66th Street, 3rd Floor, New York, NY 10065Tel (212) email@example.com.................
Here are images of a new piece, #87. After going through many stages for two 1/2 years, it finally presents itself with a cogent presence of its own. The piece will be in a solo show opening on January 9th, 2020 at Bookstein Projects in NYC. The reception is on January 9th, 6-8pm.
#87, 54” x 40” x 11 3/4”, pigmented resin, 2019
I’ve started making a new large sculpture a few months ago. It’s still at a planing stage but I am quite excited about the it. Making #82 taught me a lot in terms of the material and how to express two dimensional drawing as a three dimensional object. Right now, I’m still struggling with a model. Here is a drawing of it.
I was so frustrated with this one that when I finished it the sense of relief overwhelmed my sense of accomplishment. But it’s always profound to capture something indescribable speaking so decisively. Practicing art making gives us courage to face the unknown, embrace it and appreciate it. If there is truly an essential meaning in “art education”, that’s what we can offer—to see the world for what it is, with the unknown, complexity, bigger dynamics, smaller dynamics, layers, interconnectedness and all to be constructive. Such an angle helps us to be a part of harmony for all, instead of a part of exploitation and subjugation for few.
Here is my new painting with a few detail shots: 033, 40 x 30 inches, acrylic, 2018.
This is one of those pieces that took me a long while to come to some sort of a resolution. I feel comfortable enough to show it, but I do still envision alternate scenarios for its visual narrative.
But I guess that’s fine. Uncertainty, instability and temporariness seem to fill the air as the hierarchical machine of money and violence continues to divide us and fragment our thoughts.
Thank god we have art to reflect ourselves and our time in a cogent manner, and share it for what it is. I thank you all for looking at my work, and I wish you all a wonderful day.