2012.11.08 ( thu ) -2012.12.01 ( sat )
hpgrp GALLERY NEW YORK is pleased announce an exhibition of Neil Tetkowski’s solo show, “EARTH FRAGMENTS ” from November 8 through December 1,2012.
Opening November 8th, 2012 from 6:00 to 8:00 PM
Neil Tetkowski says that “to engage with the Earth is what every plant, animal, and human being do and ultimately depend on.” His material of choice comes directly from the Earth. Most often he uses clay, which he believes is the perfect medium to express his relationship to the natural environment. The artist uses the traditional elements of fire, earth, air and water. In contrast to our increasingly digital world, his artwork is visceral, refreshing and expressionistic. EARTH FRAGMENTS features 25 wall sculptures and four free standing works, all from 2012.
“In EARTH FRAGMENTS Tetkowski’s exhibition of ceramic work at hpgrp GALLERY NEW YORK, it is fascinating to see how many different worlds Tetkowski can conjure up from his bits and pieces. His combinatorial gestural forms and nuanced glazing and chromatic effects are parts within a multi-leveled polyphonic visual and haptic language that describes a range of emotions, correspondences and relations. They take us somewhere else than earth, yet they always ground us in the primordial medium of which he is master.
EARTH FRAGMENTS as a totality is sensually complex. Each work within the context of the ensemble is its own universe that tells its own complete and autonomous story as it relates simultaneously to the works that surround it and makes it become part of a bigger interrelated whole.
The forms come alive and teem with energy and vitality while remaining, seemingly, utterly mute and immobile on another plane of existence outside of the world of Symbol and Idea. EARTH FRAGMENTS sustains an aura where the inorganic becomes organic and reverses itself, each manifestation blooming and shattering under the black sun of incompleteness and the mattering of matter.” - Dominique Nahas
Some of Tetkowski’s projects have evolved into cultural, ecological and geo-political exploration. A decade ago, the artist built a sculpture at the United Nations using a blend of earth materials from every nation. Neil Tetkowski has received awards and fellowships including a Ford Foundation grant. His artwork is widely published and placed in permanent collections of 45 museums including the Victoria and Albert Museum in London, the Smithsonian American Art Museum in Washington, D.C. and the Museum of Modern Art in Tokyo.
More information at www.tetkowski.com
2012.09.24 ( mon ) -2012.09.29 ( sat )
ARTIST Kentaro Fujioka
hpgrp GALLERY NEW YORK is pleased to announce the opening of "Bicycle Drawing" by Japanese artist, Kentaro Fujioka.
Kentaro Fujioka will spend three days in the main gallery to work on his art project, Bicycle Drawing, transforming the gallery floor into a giant canvas. The gallery will be open to view the process. Video recording will be shown during the opening reception.
In Bicycle Drawing, Kentaro Fujioka rides his everyday bicycle directly atop the laid-out surface to create a mark between tire and paper. The quality of lines, which the artist calls Locus of Momentum, is a result of the physics of his movement: gravity, inertia, pressure, friction, and so on. The artist’s sustained movement and balance enables a continuity of lines in the piece. As an enthusiastic bike rider for years, his excellent control makes him aware of subtle nuances in the composition of the drawing, giving him a means of expression in the process, which may otherwise appear spontaneous.
As an artwork, Kentaro Fujioka’s piece is reminiscent of Japanese traditional sumie drawings. Through the use of traditional materials of graphite and charcoal on paper, Kentaro Fujioka’s upbringing in Japanese culture manifests in the artist’s intuitive selection of composition and in the work itself. An important element in Bicycle Drawing—as well as in Japanese traditional art—is to employ a method that allows one chance to create. Such limitation gives tension to the process.
Kentaro Fujioka wouldn’t take this as a limitation; however, he embraces the freedom to use his everyday bicycle as a drawing tool. His simple yet energetic and definitive application of art making is the artist’s expression of his passion for art and life.
Kentaro Fujioka lives and works in Long Island City, NY. He received a Master of Engineering and a Bachelor of Engineering, both in industrial design at Chiba University, Japan. He studied painting and sculpture at the Art Students League of New York, where he was awarded a travel scholarship to study in Europe for seven months. Solo exhibitions include the Nippon Gallery, NY and hpgrp Gallery, NY. Group exhibitions include the Queens Museum of Art, Queens, NY; Illuminated Metropolis Gallery, NY; and Cofaran, Malaga, Spain.
2012.06.07 ( thu ) -2012.07.14 ( sat )
This series of photographs, In Plato’s Cave, is about a world of illusion and belief. The photographs were inspired by the “Allegory of the Cave” in Plato’s Republic, in which Plato used the cave as a metaphor. He asks us to imagine bound prisoners in a cave who are forced to face the far wall of the cave; they can hear sounds and voices but cannot see their fellow prisoners beside them, only a distorted reality of shadows cast on the cave wall. Having been in that environment from early childhood, they have never seen the outside world and believe that the shadow figures are a true view of the world.
As we read this text, we realize that we may be those prisoners, and that we all live in a cave where, to one degree or another, we accept much of what we hear and see as the truth. Plato presents us with the possibility that what we believe is the truth may be based on an illusion formed with limited information, that our reluctance to analyze and use our intelligence will lead us to a misconception based on illusion and belief.
In the modern world, our government leaders, corporations, financial institutions, and economic policies are often less than transparent. And our media often present a version of history and current events through their own agenda, blurring the difference between the accurate reporting of information and their own form of entertainment. There are unseen truths hidden beneath the surface of what we assume to be accurate.
What each of us sees is determined by how critical our thinking is and how willing and able we are to use our intelligence to reason. Without a curious mind and the desire to use reason, we may accept what we see and hear at face value, which brings us no closer to the truth than shadow figures on the cave wall.
The photographs in this exhibition are gelatin silver prints with the background painted out in black acrylic paint. The deliberate omission of photographed information is an expression of our inability to truly understand. For Lokuta the photographs are about the struggle between enlightenment and darkness.
[Project Space 1]
Loveed Fine Arts is pleased to present in collaboration with hpgrp GALLERY NY
VERONICA JUYOUN BYUN
"COMMON GROUND - UNCOMMON VISIONS"
Exhibition dates: June 7 - July 14, 2012
Opening reception: Thursday, June 7, 6-8 pm
Gallery Hours: Tues-Sat 11 am-6 pm
View Works in Exhibition:
The first solo exhibition in New York of Korean-born sculptor Veronica Juyoun Byun will be on view at hpgrp Gallery, NY at 529 West 20th Street from June 7 through July 14, 2012. Common Ground – Uncommon Visions will feature seven large wall reliefs as well as intimate-sized figures and abstract constructions. Veronica Byun was born in Seoul, Korea, but has spent the better part of her adult life studying in the United States and this East/West divide has fueled a diverse visual culture and provided fodder for her visions as a young sculptor.
Borrowing visual themes from traditional ornamental craft geometries and color, Byun playfully expands and layers them into bursting and bubbling abstractions that dazzle the eye. It is clear from this exhibition that Byun embraces color and unabashedly shiny surfaces, which is somewhat rare in contemporary ceramics. Primary colors are deeply rooted in Korean and Buddhist traditions as sources of protection and enduring paradise on earth, and are at play here in Byun’s work. She seemingly stirs up her sources, and like most post-modern American artists, creates her own visual vocabulary.
Separate but playfully equal are Byun’s choices for titles. “Misty Dawn”, “Serenity after Sunset”, and “Shimmering Sea at Sunset” suggest naturalistic themes while “Lotus Saint Prayer”, “Passion Series”, and “Exotica” seemingly bow respectfully to the spirituality and the meditative state practiced by Zen masters. “My Shoes” contains a certain pop art quality in its serial imagery of common objects. “Passion Series #1” and “Exotica” are composed of abstract “nests” of forms, charged with an array of colors, as if their components were dashed against the wall or floor and are suddenly blossoming in the artists’ own “garden of delight”.
Byun’s “ever modular large scale wall works can ambitiously stretch out in unlimited formations or can contract to accommodate an appropriate wall space,” says Ronald Kuchta, former director of the Everson Museum and a current ceramic curator. This format bringing together traditional and non-traditional schemes and symbols confers a certain metaphorical aspect to Byun’s work as if the artist is on a journey to investigate the human condition.
Byun currently lives and works in New Jersey. She received her MFA from the Rhode Island School of Design in Providence, RI and her BFA from the New York State of Ceramics at Alfred University in Alfred, NY. She has exhibited both nationally and internationally in galleries and public institutions in New York, Philadelphia, Chicago, Providence, Seoul, Varazdin, Croatia, Austria, and in Dae-Jeon City, Korea. She was recently selected in the Special Exhibition Artists Entries at the 2012 Korean Art Show in New York and has been invited to exhibit at the upcoming Special Exhibition at KIAF2012 in Korea. Byun’s alluringly erotic installation, “Memoirs of a Lady” will be featured in the Visual Art Fellowship Awards Exhibition at The Noyes Museum of Art, Oceanville, NJ from June 8 through September 9, 2012. Her work can also be found in numerous private and corporate collections including the recently large scale commissioned murals in the collection of the Royal Caribbean Cruise Line.
[Project Space 2]
Exhibition dates: June 7 - July 5, 2012
Opening reception: Thursday, June 7, 6-8 pm
Gallery Hours: Tues-Sat 11 am-6 pm
I cannot never forget the strong impression when I met quilt artworks at an exhibition of American quilts at Japan Osaka Expo in 1966. The quilt artwork world is one of patience and aesthetics. It was the same time I dreamed to be a hair stylist. Now I create my quilt artworks stitch by stitch controlling my breath and using antique materials and fragments in keeping with my daily feeling. I change the size of string and span between stitches according to my feeling. The process is the same as drawing. The beauty of my finished artworks go beyond my expectation.
Born 1947 in Tokyo, Japan
Currently lives and works in Tokyo
1966 Graduated from Mano Beauty College
1968 Received the cosmetology license of Tokyo prefecture
1972 Moved to New York
1973 Received the cosmetology license of New York State
1982 Back to Japan
2007 Graduated from Musashino Art University
Selected Group Exhibitions
2012 The National Art Center, Tokyo
2008 Museu de Arte Contemporanea de Universidade de Sao Paulo, Brazil
2006 Tokyo Metropolitan Art Museum
Contact: Naoko Kobayashi
2012.05.17 ( thu ) -2012.06.02 ( sat )
hpgrp GALLERY NY is pleased to announce a group exhibition, "Beyond 1 lens & Over 100 eyes, " curated by Takayuki Fujii
May 17—June 2, 2012
An opening reception: May 17, 6pm – 8pm
The exhibition will explore the uniqueness and diversity of visions in the New York metropolitan area seen through the 100 eyes of professional photographers.
Accompanying, the development of technology, anyone can become a photographer using a digital camera and or cell phone. Moreover, making beautiful and interesting photography is becoming easier than ever. However, there are so many professional photographers around the world and New York is one of the biggest cities of varying kinds of photographers. As a gallery of New York, we aim to show what professional photographers are feeling, and thinking through their lens.
This exhibition is an inauguratory experimental group show of hpgrp GALLERY NEW YORK. Contemporary photography is an important direction for our gallery, and we plan to exhibit the work of many more talented photographers from around the world in the near future.
Aaron McDonald, Ali Ahmed, Andy Matias, Antonio Isambert, Ausrine Dereskeviciute, Gabriela Worosz, Go Nakamura, Goseong Choi, Hitomi Mochizuki, Hrund Atladottir, Hsin-Yi Ho, I-Hsuen Chen, Jacob Sadrak, Jia Liu, Ki Joon Kim, Kiriko Shirobayashi, Kohichi Ogasahara, Kyoko Takei, Leon Saperstein, Linda Kuehne, Marco Muñoz Jaramillo, Marilia Destot, Markus Ziegler, Matteo Crupi, Max Fujishima, Melissa Tomich, Michael Tkach, Michele Xiaoyun Fan, Motohiro Takeda, pipi, Robert Yoskowitz, Ron Contarsy, Takahiro Kaneyama, Tim Francis, Washington Chavez, Yasutaka Kojima, Yo Imae, Yojiro Imasaka, Yoko Haraoka, Yoko Naito, Yu Kanbayashi and more.
(In Alphabetical Order)
FOR MORE INFORMATION CONTACT TAKAYUKI FUJII
529 West 20th Street. 2W New York. NY 10011
2012.04.05 ( thu ) -2012.05.12 ( sat )
ARTIST Nao Matsumoto
2012.03.15 ( thu ) -2012.03.31 ( sat )
ARTIST Sophie Delaporte
2012.04.04 ( wed ) -2012.05.12 ( sat )
ARTIST Nao Matsumoto
hpgrp GALLERY NY is pleased to announce an exhibition of new works by New York-based artist Nao Matsumoto. Consisting of four mixed media sculptures made in the past year, the show is a continuation of themes that Matsumoto has been working on for most of his career. In them, he explores the natural world, and makes work that depicts the duality and the irony of his observations.
In Chainsaw Blue, Matsumoto created a fiber re-enforced plastic sculpture of a Sawfish, a creature with a jagged sword-like snout. In the work, this appendage is replaced by an actual chainsaw, which both mimics the natural shape of the fish, as well as makes a play on its name. Matsumoto, who has always been fascinated by animals that have illogical phenotypes, painted the work sky blue and white, to counterbalance the fear evoked by the menacing creature. Coupled with the pun on its name, Matsumoto’s sawfish is marked by his characteristic wit and interest in latent violence, the boiling tension that pervades much of his work.
In You/Me, Matsumoto attaches approximately 40,000 screws on wooden baseboards to spell out the words “You” and “Me,” a pun on the phrase “Screw you, Screw me.” The resulting effect—the letters look like they are made out of swarms of wasps congregated on honeycombs—lends the work an organic texture despite the fact that it’s made out of industrial materials. Requiring what Matsumoto describes as “intensely mundane labor,” the piece exudes a latent element of violence not only through its message, but also because of the frustration and boredom the artist felt when he was drilling each screw into the letters. In the gallery, the two words will be hung on opposite walls, thereby sandwiching the viewer between this subtly aggressive work.
In 100, one-hundred individually cast resin ant heads are mounted on the wall in a precise, square grid. The installation—a continuation of Matsumoto’s earlier work, in which he associates insect heads with numbers—compares the systematic nature of the decimal system with the efficiency of the social structure of ants. For the artist, the number 100 signals a certain aesthetic completeness, and affords him the opportunity to observe synchronicities with events that occur in his own life.
In SAMF-V, Matsumoto created a vehicle out of mud tires mounted on a steel frame, with long, vicious wooden spikes pointing horizontally in both directions. Reminiscent of something a character would drive in the post-apocalyptic film Mad Max, the work channels both primitive violence and industrial strength. Inspired in part by the wood carvings of the Makonde tribe, which Matsumoto saw when he was living in Tanzania, as well as gargoyles and the wooden stakes hypothetically used to kill vampires, the work serves as a kind of demonic form, to ward off evil spirits. Using both modern and primitive materials the vehicle is at once intimidating and enticing, as is any other kind of lethal weaponry.
FOR MORE INFORMATION CONTACT SHUHEI YAMATANI
2012.03.15 ( thu ) -2012.03.31 ( sat )
ARTIST Sophie Delaporte
hpgrp Gallery is pleased to announce “Needleworks,” an exhibition by Sophie Delaporte, a French fashion photographer whose images have appeared in publications such as Italian Vogue, Japanese Vogue, and i-D magazine, as well as in advertising campaigns for major clients. Bridging both commercial and high art, her photographs have been exhibited in solo shows in Paris, London, Tokyo, and New York.
Since 2002, when she had her first solo show at Marion Meyer Gallery in Paris, Delaporte has been interested in using fine art photography as a canvas in which to transform and reinvent images. The idea originated in 1999, with a black & white image she took for I-D magazine. Entitled La croix sur l’oeil (the cross over the eye), the photograph depicted a fashion model whose face had been disrupted by a pink cross over her left eye. The image was later used on the invitation for the exhibition at Marion Meyer, and was a starting point for later works.
Originally using her own fashion photographs, which she re-staged and re-took at their original locations to create a mise-en-scène, Delaporte eventually began appropriating images from other sources. In “Needleworks”—first shown at Scream Gallery, in London, in 2008—she sawed apart pornographic images, and then “sutured” them back together with thread and fabric. She then photographed the resulting collages, which she blew up on a monumental scale. At the exhibition at hpgrp Gallery, she will display both the original collages in shadow boxes, and the large-scale images.
Because of her background as a female photographer, Delaporte is attuned to the fragility and vulnerability of a woman being objectified by the camera. By “dressing the invisible” in this series—or giving a layer of protection to the women being depicted—she is not only re-defining their beauty, she is also reflecting the act of seeing. As the philosopher Regis Debray says in his essay, “Vie et mort de l’image,” Delporte is able to “renovate the invisible,” or bring to light what is not seen by the ordinary eye with her thoughtful interventions.
2012.02.02 ( thu ) -2012.03.03 ( sat )
ARTIST Rene Lynch