ROSSOCINABRO | photography | Susumu Hasegawa | Japan

Contemporary Art in Rome

               

         
 Susumu Hasegawa [ see other similar works ]

         Kyoto City, Japan

         

Susumu Hasegawa

R = 2-sh Axis ink

gliceé print on paper

78,3 x 50 cm (external measure: 96 x 67,7 cm) no. 1/1

frame on black oak wood

2021

R = 3-sh Story W

gliceé print on paper

68,4 x 50 cm (external measure: 86,1 x 67,7 cm) no. 1/1

frame on black oak wood

2021

   

hasegawa
 

 

   
information INQUIRE HERE  
   

About

1980 International Impact Art Festival (-2017), kyoto Municipal Art Museum, kyoto, Japan.

1984 One-man Exhibition, ART SPACE NIJI, Kyoto,Japan.

1985 Cado Frio International Print Biennial, Brazil.

1986 “ART OF TODAY”, “ARTS OF TODAY2” International Exhibition (-1987), Budapest, Hungary.

1987 “ WORLD OF ART ” ART ADDICTION 1st INTERNATIONAL DRAWING COMPETITION 1997, Stockholm, Sweden.

1998 ART ADDICTION ANNUAL IN VENICE “ MASKS IN VENICE ”, Venice, Italy.

2006 IACK Exhibition(-2007), Gallery Maronie, kyoto, Japan. 

2010 art by geneve (Europ ART), PALEXPO, Geneve, Switzerland.

2012 “ West Meets East ” an Exhibition of Fine Art from Asia (-2013), Agora Gallery, New York, USA.

2014 “ Enigmatic Realms ” an Exhibition of Fine Art , Agora Gallery, New York, USA.

2015 IACK Exhibition (- 2020), Gallery Maronie, kyoto, Japan

 

Statement

私見では全て思しき主題の中で、最も重要で究極なものに「絶対的にして根源成るモノ」がある。 しかし『其れ』がある意味 知られていない理由の一つは、本来 理解不能であり又 “理解”するモノでもない為と思われる。『其れ』は言葉等の知性に偏向せず、況してや其処へ根差している訳でもない。 敢えて言えば全心身体と其れとの共振によって、初めて感得可能なものであるからだろう。『其れ』自体は凡ゆる分野に於いて表現不能な事に変わりないが、その現象の一端なら多少なりとも可能と思えるのだ。 例えば「曼陀羅」の様にその為の契機には成れるかも知れない。 絵画は言語等による概念化の限定的表現でないだけ、 ある意味『其れ』に近い立ち位置にある。何よりもその出会いの端的さが、現象の一つである「永遠」を“見る”ためにも相応しいと思えるのだ。

 

In my opinion, the most important and ultimate of all imaginable subjects is “Absolute Origin Things”. However, it is not well known because it is an inherently incomprehensible subject and not an area of "understanding". "It" is not biased towards the intellect of "words", much less rooted in it. Dare it to say, it can be felt only depending on the resonance between the whole “mind-body” and “It”. And "it" can give a "exceedingly deep impression" to the mind. "It" cannot be expressed in all fields, but it may be expressed to some extent if it is a part of the phenomenon. For example, Japan's "Mandala" may be an opportunity for "it". Paintings have no conceptual limitation like language,That’s why, “Art painting” has a position close to “It”. Above all, the simplicity of encountering “Art painting” seems to be suitable for "seeing" one part of "It" phenomena called “eternity.

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