A piece from 1998-2001 has been added to the sculpture section of my site. I’ve been conscious of the fact that many people who look at my work do so through the Internet. I’ve learned how to document the work and I believe I’ve done a decent job. But obviously, looking at the work through screens with their limitations curtails the appreciation. Certain pieces will appear better than others as some aspects are easier to perceive than others on screen. It is completely impossible to convey the significance of certain others. But having said that, it is absolutely mind-blowing that we do more or less recognize visual languages across the globe while many of us don’t even speak the same language. Our governments might even consider your governments “enemies”, building nuclear weapons, badmouthing peoples based on their nationalities and so on. But we have the same language to build our friendship.
#32, enamel, oil, plaster, tar and wax, 38″ x 36″ x 1.75″, 1998-2001
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.
Here is the 7th Piezography print. I’ve struggled quite a bit but I am very happy with how it turned out. The whole struggle with the print project is to express subtlety, gentleness, warmth, tangible mass of black emerging from actual ink hitting the paper as opposed to how we perceive the image on screen. Doing so with a digital software is certainly a challenge that requires more time and trials and errors. It has been very rewarding and educational, and very much humbling as well.
Our visual perception relies heavily on inputs from our brains. Our eyes are physically a part of the brains from their proximity and connections. Our memories, expectations, preconceptions and so on play big roles in making us see what we see. In a long stretch of studio practice we cultivate our own trajectories filled with those filters which can push us forward while also potentially preventing us from seeing other things. Sometimes our eyes guide us to imagine how the piece can turn out. Sometimes they prevent us from seeing an obvious until we can face it constructively. In the process, the time and space bend each other and allow us to experience the essence of our being stretching beyond the framework of corporatism, colonialism and militarism.
This piece took a few years to finish, but I’m finally done with it.
I am very happy about how the show turned out. The new piece (pictured below) was safely brought into the museum. It is surrounded by five of my Piezography prints. Scroll down for some images from the show…
82, 78 x 61 x 26 inches, pigmented resin, 2017-18
Hiroyuki Hamada: Sculptures and Prints
February 24, 2018 – March 25, 2018
Reception: February 25, 2018, 2:00pm- 4:00pm
Gallery Talk with Hiroyuki Hamada: March 10, 2018 2:00pm
Address: 158 Main Street, East Hampton, NY 11937
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One of my pieces is added to a permanent collection at the Guild Hall of East Hampton. The piece will be in a group show titled Recollections: Selections from the Permanent Collection, curated by Jess Frost. It opens on Saturday, October 21 along with two other shows at the venue. The opening is 5-7pm. See you at the opening if you are in the area!