Taishi HATAYAMA

Taishi HATAYAMA "Astray in Time"

SEZON ART GALLERY 1F


Information

SEZON ART GALLERY is pleased to present a solo exhibition entitled “Astray in Time” by Taishi Hatayama from the 2nd of September to the 26th of September.

I am carried to places that I don’t know by a scintillating light which is like crying tears inside darkness.

Memories of what is to be and what has passed are loosely weaved together within the space of time in which I don’t have to think about anything.

Before I realise it, both myself and the present become free, and I can touch a forgotten past that manifests itself in front of my eyes.

This sensation stays in place without fading even as time marches past towards the future. So that even if I return to now, to myself in this present moment, the light remains.

A place is created by each time from between the deep darkness of trees and the light between the rocks. I search for the places where I belong which I can rely on to have a light source within the darkness.

I am lost in the present, wandering within a forest, and by my fundus oculi I find myself in a different time.

Taishi Hatayama

In 2014 Taishi Hatayama was in the midst of his studies at Tama Art University, and due to an interest in an invisible kind of existence in an unassuming landscape he independently managed to capture the air and sense of existence. His precisely painted white-based artwork was awarded the 1st CAF ART AWARD’s Excellence Award, the Kohei Nawa Prize. His work drew attention with every last detailed brushstroke of its lifelike expression and as a consequence he is a young contemporary artist whose participation is eagerly expected in the Physiology of Art, or Meditation of Transcendental Taste (2017) exhibition at the Sezon Museum of Modern Art.

The work in this exhibition includes the waxing tranquillity seen up to now in his dynamic expression, on the surface of the canvas large and small brushstrokes evoke boldly wild light, it is being drawn into the darkness with an unknown depth, and this bottomless abyss can be felt in his developing artwork that is presented here.

Most likely this reflects the aesthesia experienced every time the artist examines his own ocular fundus. Hatayama can best explain this perception in his own words:

“When it is necessary to stare at the light with open pupils I feel that I want to look away, or feel the vision of the far side of the overly dazzling light, and then in that moment the sensation of time fades away.”

For Hatayama, light is not just an articulation of existence for that which exists, it is a hint for drawing out an existence which can’t be grasped by the naked eye, but could it be a representation of a multitude of gazes upon light?

This phenomenon, and both visible and invisible existence, is equal to the daring canvas surface where by superimposing different colours and brushstrokes a sense of life and centripetal force is born.

When one’s gaze is confronted by the painting, by the intersection of one’s own line of sight and that directed from the bottomless depth, the perception of a multidimensional void may emerge.

We look forward to welcoming you to our gallery and introducing you to a world discovered by Hatayama where light and time coexists.

Opening Party

2017.9.1 (fri) 18:00-20:00

Artist's schedule

2017.9.3 (sun) 16:00-18:00
2017.9.5 (tue) 16:00-18:00
2017.9.9 (sat) 14:00-18:00
2017.9.16 (sat) 16:00-18:00
2017.9.23 (sat) 16:00-18:00
2017.9.24 (sun) 16:00-18:00


Commentary


“A fallen mossy tree in the forest,” if I express it in a one word, this work of his was the first that I came across on the internet. It was reminiscent of a town called Kuhmo in Finland that I visited 28 years ago; at any rate I had to meet him as I had the impulse to see the reality of his work. He has, at first sight, a quiet look about him – as tranquil as his artwork – but at the same time my instinct told me that there was no mistaking that his look belied an underlying sharpness. Just as I wondered when that aspect of him might manifest itself in his work I saw his new art piece 《The Sunshine of a Hundred Demons goes into Night.》 It was shocking. He was pursuing the “light” of frozen eternity = the universe’s soul, and materials variably transitioning = the forest, which were beautifully co-existing in harmony. So, through this artifice of his, steeped inside his work, separated from now, I found myself in search of memories of the past and future. In this mortal world we are clad in the material known as the human primate, Taishi Hatayama’s job in trade as an artist (destiny) is a “light” in which increasing numbers of other human being’s “lights” are being invited (tempted) into his artwork, and then gradually surrounded.

President of the Sezon Museum of Modern Art
Takao Tsutsumi

I saw Taishi Hatayama’s work for the first time at the 2014 CAF ART AWARD Competition where I was one of the judges. It was a painting with an atmosphere of an entirely hazy whiteness which had been completed on canvas. It is difficult to comprehend what had been painted if one looked from afar. By coming closer and looking more carefully it becomes apparent that on the surface of the canvas there is a fine unevenness of paint, so that one could sense the mark of the brush. That is not to say that it was a method by which the world is represented by a mixture of shapes and marks, the painting is like a covered screen’s visibility, the line of sight had been materially, as if a “photon’s” behaviour was texturally transposed, captured. In other words, by carefully stretching, the texture becomes the threshold of the physical sense of immersion from the focal point to the entire surface, it approaches spinning reality. When appreciating this art, which has been described as a manner of expression similar to “touching with your eyes,” Hatayama’s painting is truly a visual and physical sensation. I feel that it is that aspect which is the essentially interesting part of his work. Continuing on from Impressionism, rather than being a visually analytical approach from start to finish, he isn’t flatly addressing pixelated paintings, I think it is essential that the high purity of his “sight” from his own personal experience of living in modern times emerges from his work. I expect that he will continue to develop as an artist in the future.
 
Artist,SANDWICH Director,Professor of Kyoto University of Art and Design
Kohei Nawa



MORE EXHIBITION


Being part of the new activity of SEZON Museum of Modern Art, we would like to announce the launch of “SEZON ART GALLERY” in Jingumae/Tokyo. This space with “Life in Art” as a theme is where art works causing friction with the outside world are sold in our gallery being united with a café/dining bar where people can inflate their imagination.


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