Posts tagged with ‘Riverhead’

  • Art Sites Show Images Are Up!

    In News on

    Images from the Art Sites show are up at the main part of the site.  Here are a few…

    For the full photo sets, please click here, and click on PHOTOS at the top bar for Art Sites 2o1o Part 1 to 3.  There are 47 images!  Or, Hiroyuki Hamada Art at Facebook has an album with same images.  They are smaller but load faster.  Hope you like the images!

  • The Last Weekend For The Art Sites Show

    In News on

    It’s  been a great few weeks having a show at Art Sites.  The show turned out to be super
    featuring the latest works as well as the oldest ones.  Last week, we have also added nine
    of my oldest drawings predating the plaster sculptures.  You can see them in the office area.

    And, we have one more weekend to go!  The show will be closing on Sunday the 10th.  Here
    are a few images from the show.  More photos with large view options will be added to the
    main part of the site in a few weeks.


    #60, 2006-08, 38 x 30 x 16 inches


    #39, 43 x 27 1/2 x 6 1/2 inches, 1997- 02


    #69, 51 x 22 x 19 inches, 2008-10

    Left:  #56 with Glynis and Hideaki!  Right:  #52

    #56, 40 3/4 x 41 1/2 x 7 1/2 inches, 2005-10 and #52, 25 diameter x 19 inches, 2002-08


    #63, 45 x 40 x 24 inches, 2006-10

    Here is how to get to Art Sites:  Direction to Art Sites

    Art Sites
    651 W. Main St.
    Riverhead, NY 11901
    hours: th-sun 12-5
    Please call for additional hours
  • An Architect’s Angle

    In News on

    Once the work goes out of my studio, it finds new contexts and meanings
    in viewers’ minds. It’s fascinating to hear what they see.  Last March, I
    enjoyed an architect, Saurabh Vaidya’s blog post that showed the work
    through his rich, investigative mind.  He just posted his second entry on
    the work.  Here are his 1st and the 2nd entry posted back to back:


    I came across works by two very interesting artists last week,
    Nicolas Moulin who envisages ruins of mega monolithic concrete
    blocks in a deserted landscape while the other being Hiroyuki Hamada
    who designs comparatively small, vaguely futurist looking monoliths.

    (Some of the many Hiroyuki’s tablets that could easily come to be a parts of totem pole
    of a dystopian space age civilization, whose technological advancement has come at
    the price of erosion of memory of history and language…where technology is god.

    Images sourced from

    Hiroyuki’s artifacts that seem to draw semantic nourishment from manga,
    minimalismspace debrisJapanese Zen, Buddhism, God particles,
    Shivalingam, crustaceans, Mars and brush by closely to Nicolas’s Béton
    Brut work that sends roots to Normandy Bunkers, Corbusier, Oplismeno
    skirodema, Berlin Wall, Moai, Rosetta stone, Noah’s Arc etc according
    to me are not thriving on but are just the opposite. They are soil samples
    of the very ground that anchors the tree of Being, from where all these
    references germinate.

    (Images of Nicolas Moulin’s collages sourced from Vulgare one can also find an online
    blog recording by the artist and Amanda Crawley Jackson called
    Beton brut)

    The ability of both these artist to have art works that spread roots
    through history and simultaneously come across as being so basic
    that it forms a part of Lebenswelt, the very ground of universality
    which anchors the roots of metaphysics, to be understood in equal
    ways by every member of the human race is according to me the
    true essence of their work.

    Scale, texture and form, that is all to it, as wise old university
    stalwarts would put it, which according to me has more truth to it
    than the combined cacophony that we seem to have inherited from
    the circus that was post modernism and these two artists working
    independently in different circles and continents seem to echo just
    that. The simplicity of works is refreshing and it just looks very
    very sexy.

    Lebenswelt appeared at Urban Floop on Sundy, March 28, 2010

    Here is his second post:


    During my early days in architecture all of us during a brief phase
    had taken to worshipping Tadao Ando, which secretly we still do in
    some obscure corner of naivety unpolluted by the realisation that
    it cannot be that simple, life is far more complicated, filled with
    contradictions that need to be represented in our spaces, objects,
    skews and corners. Ando had been popular for quite sometime
    then but it was during my first year in Architecture that he built
    Church of the Light a building that worshipped space, made
    concrete an inch more beautiful than what the modernist had left it
    as and we drooled.

    It is this rich simplicity that draws me to Hiroyuki’s work of which I
    have written before
    .  Hiroyuki will be exhibiting three new pieces in
    his next show at Art Sites, a gallery in Riverhead, NY. If you are
    the lucky few around do visit…I personally would like to see the
    scale of these objects…and if they open up like loosely held 3d
    jigsaw puzzles, or do they crack like egg shells, are they hollow
    or filled with a heavy fluid, is there a temperature difference in the
    blacks and whites, browns and greys…I guess I will definitely be
    banned from entering the gallery or his workshop!
    I hope the art work sells and and pray definitely not to clients who
    would use it as bourgeoisie conversational props with their boring
    guests in plush living rooms with matching minimal aesthetics.

    Hiroyuki appeared at Urban Floop on Saturday, August 14, 2010

  • 3 New Pieces in the Next show

    In News on

    Last year, my painter friend Darlene Charneco kindly introduced my work to
    people at Art Sites, a gallery in Riverhead, NY.  They actually liked the work
    enough to do a show.  And it’s coming up!


    The town of Riverhead is located at the northern part of eastern Long Island,
    NY. It’s a rather big town for the area with its set of county buildings.  It can
    also be beautiful with the river going nearby and it’s got an aquarium
    (Atlantis Marine World) where I take my kids. The town is not fancy at all like
    some of the summer spots in the Hamptons.  It’s sort of rustic, can be seedy,
    sort of reminds me of towns I’ve seen in Weird NJ.  OK, it’s sort of weird and
    it’s been making me want to find out more about its curious nature. It’s an
    intriguing place where I would want to walk around with my camera.  In short,
    I like the town.

    The gallery is run by an architect couple, Glynis Berry and Hideaki Ariizumi,
    who converted a Jeep dealer building, basically with their bare hands into
    three gallery rooms and their architect office.  The ground also includes a
    park-like outdoor exhibition area facing the river.  It’s very nice.  In addition
    to their regular gallery schedules, they’ve been opening the space for various
    community activities, and this year they had their 2nd annual Peconic River
    Festival.  And this is not their first gallery space. They have a quite followings
    since their Greenport gallery era (Their first gallery space was located in the town
    of Greenport where they still reside). They’ve been known in the area to put up
    solid shows.  It’s really generous of Glynis and Hideaki to let me be part of their
    programing.  Thank you so much.

    Art Site Gallery Plan

    Art Site Gallery Plan

    I’ve been looking forward to seeing how my work will interact with their rooms
    (101, 101 and 102A).  Also, I’m excited to show three new works which I’ve been
    working on for the past years.  One of them (#63) appears in the announcement
    above.  More images of #63 along with images of #56 and #69 will be added shortly
    to the main part of the site.  The show will likely include over 10 pieces and I will
    post details as we get closer to the opening.

    Here is an excerpt from Art Sites’ press release:

    Hiroyuki Hamada’s works are monumental in impact, but built with delicacy.
    They are filled with an unknown spirit. There is no direct reference, but one can
    read the mysteries of the ancients or the mapping of a digital age in their rich
    surfaces. The forms hold space, rather than make it. Tension pervades, as each
    mark and tone tell a story of perfection, balance and upset. Hamada spends up
    to three years creating the sculptures, as he applies plaster over burlap and
    wooden forms. He then shapes and stains them with wax, resin, and paint.

    Hamada, at 18, moved from Tokyo to West Virginia, due to his father’s
    involvement with the steel industry.  Culture shock, language challenges,
    and minority status were exacerbated by the parallel shift from an urban
    to a rural lifestyle.  In college, after starting in psychology, Hamada
    became more enamored of art, especially after being exposed to the work
    of Karl Jacobson. With a M.F.A. from the University of Maryland,
    Hamada’s art transitioned from emotionally generated art, to a
    fascination with the abstract, especially the interaction between
    lines, colors, tones, and shapes in three dimensions.

    Hiroyuki Hamada has developed his work with the support of the
    Pollock-Krasner Foundation, residencies at the Fine Arts Works
    Center, the MacDowell Colony, the Virginia Center for creative
    Artists, and the Edward Albee Foundation, and more recently, a
    grant from the New York Foundation of the Arts.