|
|
|
|
Artist Statement:
My photographic work deals
with the transformation of the
physical and conceptual
properties of the medium by
means of time. My images are
printed on oxidized sheet
metal through the application
of photographic emulsion onto
the surface. In this process
the rust on the metal
penetrates the image from
underneath ...
Further Information
| |
Artist Exhibitions:
2008 "New Horizon", Sherrie
Gallerie, Columbus, OH
2007 Charles Herndon Gallery,
Cleveland, OH
2007 "One Night Suite'r",
Ohio Art League Show,
Columbus, OH
2006 “Nudes”, Synapse Gallery
and the Center of Photography,
Benton Harbor, MI
2006 “One Night Suite”, Ohio
Art League Show, Columbus, OH
2006 Columbus College of ...
Further Information
|
|
Artist Galleries:
Sherrie Gallerie
694 North High Street,
Columbus, OH 43215
(614) 221 8580
www.sherriegallerie.com
...
Further Information
|
|
|
|
Collections:
Dr. Robert Falcone,
Columbus, OH
Michael Radcliff,
Columbus, OH
Margo Bear,
Columbus, OH
Madeline Sekara,
Columbus, OH
Laura Heyman,
San Francisco, CA
Cindy McCracken,
Columbus, OH
Anedith Nash,
Columbus, OH
Kayoko Ikeda,
Tokyo, Japan
Elizabeth Chrisman,
Columbus, OH
Richard Mayer,
New Ark, OH
Andrea Cambern,
Columbus, OH
Ellen Grevey,
Columbus, ...
Further Information
|
|
Commissions:
Coming Soon!
|
|
|
Reviews for Hiroshi Hayakawa:
|
|
|
Exhibit sherrie gallerie
Metal plates replace paper in abstract photos
Sunday, February 3, 2008 3:30 AM
By Kaizaad Kotwal
For The Columbus Dispatch
Hiroshi Hayakawa inventively develops his photographs of nudes directly on corroding metal plates using "liquid light."
Emotionally layered, the photos are also technically dazzling.
In his latest works, on view at Sherrie Gallerie, Hayakawa begins with the female model, abstracting the form by how he poses her. His method of abstraction continues with his enigmatic use of light and shade, and through the severe crops and angles he employs. The resulting human form seems akin to ancient marble sculptures, timeless and modern all at once.
Hayakawa, a native of Japan who came to the United States in 1991, works as a professor of photography and media studies at the Columbus College of Art & Design and Ohio Dominican University.
While he often exhibited at the since-closed Gallery V, he hadn't previously shown at Sherrie Gallerie -- which has branched out from a repertoire of ceramics to works in other mediums.
Q: Can you describe your technique?
A: I use film -- the wet process, not digital means -- to create works in the tradition of black-and-white photographic printing. I use liquid light, a photo emulsion, and then, using an enlarger, develop the negative directly onto sheets of metal. In a way, I am making my own print paper.
Sometimes this is not a very reliable process, and, depending on the surface qualities, there can be many accidents. These accidents can be a good thing.
Q: How did you come up with the technique?
A: I learned to use liquid light as a student at CCAD. I was also attracted to the rusted surface of metal and began wondering what would happen if I combined the two.
Q: What do you want to communicate through your depictions of the female nude?
A: I really like the association of the warm body against the coolness of the metal, the softness of the form and the hardness of the metal. I am also interested in (the) impermanence in beauty that does not last forever and the impermanence of the deteriorating metal.
"Hiroshi Hayakawa: New Horizon" continues through Feb. 24 in Sherrie Gallerie, 694 N. High St. Hours: 1 to 5 p.m. Sundays, 11 a.m. to 6 p.m. Tuesdays through Fridays and 11 a.m. to 5 p.m. Saturdays. Call 614-221-8580 or visit .
Copyright © 2008, The Columbus Dispatch
______________________________________________________________________
Proof of age
Hiroshi Hayakawa unites beauty and rust at Gallery V
by Melissa Starker
Beauty fades, but often not without a fight from its possessor. Regenerative creams, toxic injections and surgery are a few of the weapons used to stave off the natural, unavoidable process of aging, and ultimately to maintain good standing in a society that worships the young and the hot.
As an artist who photographs the nude female form, Hiroshi Hayakawa shows at least as much of an appreciation for these qualities as the average guy, but he’s more accepting of their transience. Aging is an ever-present part of life, and a central element in Hayakawa’s memorable work. It’s represented by the rust that forms on the squares of sheet metal he uses as his canvas. The artist currently has 10 of his pieces on display at Gallery V, in a joint show that also features drawings by Paul-Henri Bourguignon and haunting X-ray nature photography by Judith McMillan.
Through an e-mail exchange, Hayakawa explained that his process can take up to 11 hours and involves painting liquid photo emulsion onto sheet metal that’s been oxidized by a few months of sitting in his back yard. He then prints his images using traditional methods for black and white photography. “In this process the rust on the metal penetrates the image from underneath and surfaces to become part of the image,” he wrote in his artist’s statement.
Hayakawa’s figure studies react to the process in striking, unusual ways. Smooth skin becomes pitted, spotted and cracked. Rust generates an unorthodox sepia tone, and the emulsion application adds a soothing painterly effect.
In the past, he has framed his pictures with ornate, handcrafted woodwork, but for the Gallery V works, the Figure/Ground series, he chose a simple presentation, bolting the photographs to flat, painted wood. Hayakawa feels that “elaborate framing might take something away from the pieces and add something unessential to them.” The photographer also reinforces his chosen medium by leaving the border images visible.
“The senses of permanence and timelessness conventionally associated with photographic prints are re-examined by the impermanence implicit in the material,” the artist wrote. “In a literal and symbolic sense, my main subject matter—female nudes—provides the ground where these two points in time meet, and the figures work as a catalyst to accelerate this transformation of the medium due to the transient nature of beauty with which female nudes are viewed.”
Hayakawa has been substituting metal for photo paper for 10 years. “I was working on combining a figurative image and an image of rusty metal by exposing the two negatives on a single print paper,” he wrote. “Then just out of curiosity, I tried printing a figurative image directly onto the surface of metal using the liquid photo emulsion. It worked great, and I have been doing this ever since.”
At the time, he was a student at Columbus College of Art and Design. Hayakawa moved here in 1991 after obtaining a degree in French literature at a Tokyo university and spending a few years as a system engineer for a software company until, as he put it, “I couldn’t take it any more.” He now teaches photography at CCAD, and at Ohio Dominican.
While his methods have remained consistent, Hayakawa explained that his compositions have been evolving toward the abstract. “My main interest [for this show] was fragmentation of the body. By depicting only a part of the body, I thought I could make it lose its integrity a little bit, so that the image would become more about the essence or presence of the body, and less about whom I photographed.”
“I still wanted them to be recognizable as human bodies,” he continued, “but I wanted the poses of my models, my compositions and the texture of the pieces to remove their familiarity.” The works commonly question the standard concept of positive and negative space, and in almost all, the figures are positioned at the bottom of the frames because, Hayakawa wrote, “There is a strong sense of gravity-bound orientation throughout the show.”
“In the past, I did a few mixed-media pieces in which I tried to explore the idea of metaphorical transformation by using other materials, such as needle, thread, magnet, et cetera,” he explained. “My idea for those pieces was to suggest the existence of alternative forces that transform our familiar notions of the images, materials and time. This Figure/Ground series is an attempt to revisit the same theme from a different direction, without using a mixed media approach.”
Despite the prominent signs of age in his work, the art itself is in a state of suspended animation, protected by a product that works better on metal than skin: layers of polyurethane, both under and over the printed image. “Some people think the rust of the metal would constantly progress, eat up the image and eventually destroy it,” Hayakawa wrote. “Actually, it is pretty stable. What I am trying to do in my pieces is to talk about the suggested decay, but not to make them literally decay.”
August 11, 2004
Copyright © 2004 Columbus Alive, Inc. All rights reserved.
____________________________________________________________
Gallery features photography, drawings of Ohio artists
By Katie Thieken
Published: Tuesday, August 24, 2004
Gallery V in the Short North presents a new drawing and photography exhibit featured through Aug. 28. The exhibition showcases the works of Hiroshi Hayakawa and the late Paul-Henri Bourguignon, both of Columbus, and Judith McMillian of Cleveland.
The theme for his work is the nude female body incorporated onto metal sheets. The smooth and curvy lines give each piece a soft feel. Hayakawa said he took a more abstract approach for these particular photographs and focused on the female figure as a landscape.
"Each piece concentrates on parts of the female nude rather than the full body," Hayakawa said. "Making the photographs faceless gives each a less sense of identity and integrity."
The black and white pieces are featured on thin sheets of metal with an apparent rust color showing through. Hayakawa began photographing the nude female figure in 1994.
"I associate the female figure as ever-changing beauty," Hayakawa said. "I wanted to transform this idea into a timeless image that lasts forever."
Hayakawa teaches photography and drawing at Columbus College of Art and Design and Ohio Dominican. This is the third showing of Hayakawa's works at Gallery V.
Thus far, the exhibition has been very well received. Muskoff said that people have really liked what they have seen and think it is a beautiful show.
Copyright © 2004 The Lantern. All rights reserved.
______________________________________________________________________
The joint exhibition of "Body and Soul" at Gallery V proves that photography can be more than merely taking pictures.
Until April 6, Gallery V, 694 N. High St., will be showing works by Hiroshi Hayakawa and Nancy Wride. Both professors at Columbus College of Art and Design, their works paradoxically contrast and complement each other. Both have unconventional methods for bringing about art, and the results prove to be mesmerizing.
Hayakawa has chosen the female nude for the subject of his exhibition. The women are shown reclining, in the fetal position or bending over — positions obviously chosen carefully to accentuate the beauty of the female form. Hayakawa photographs the women's images the conventional way but instead of printing the images on regular photography paper, Hayakawa presents the image on rusted sheet metal. As Hayakawa said, "Instead of buying print paper, I make my own paper, so-to-speak."
The effect is startling and demands attention. The images are forlorn in the sense that most of the women depicted are surrounded by black, giving the picture a dark quality, while rusting on the edges provides warmth.
Hayakawa, who has been teaching four years at CCAD, said he chose the female nude as his subject because he likes "the contrast between the softness of the female figure and the hardness of the material."
"Female nudes are traditionally viewed as something very fragile—something beautiful, soft and curvy," Hayakawa said. "At the same time, we all know this beauty doesn't last. That kind of goes with the nature of the material, which is not permanent in the process of decay."
Hayakawa said his work represents "the beauty of decay" and the fact that "we are living, but at the same time we are dying."
Copyright © 2002 The Lantern. All rights reserved.
|
|
contact artist
