Aging painting

    2017.11.15 ( wed ) -2017.12.29 ( fri )

    ARTIST Takahiro Yamamto
    Courtesy of Gallery Kogure

    hpgrp GALLERY NEW YORK is pleased to announce the opening of “Aging Painting” by Takahiro Yamamoto. New York based Japanese artist Takahiro Yamamoto will exhibits his latest super-realistic oil painting series “Aging Painting”.
    The opening reception with the artist will be held on Wednesday, November 15th, 2017, in conjunction with Tribeca Art Night #6

    Throughout his work, Yamamoto has focused on themes of replicative techniques and the environments that foster them. His series, Re:view, investigates the difficulty of identifying what is original versus what is reproduced in today’s context, while his series, Where the artificial stops and the real starts, builds on that concept to demonstrate the fragility of the very term “originality.”
    According to Yamamoto, the increasing abundance of replicative technology has already negated our ability to compare originals and reproductions. In spite of this, an original continues to hold much more value than its duplicate. The word “original” continues to evoke concepts of uniqueness or singularity — concepts which are generally accepted as incompatible with reproductions.
    However, is this really the case? Yamamoto has invested in the potential for reproductions to acquire uniqueness and distinctness, eventually coming upon the concept for Aging. At the moment the duplicate is created, it becomes impossible to distinguish between an object and its reproduction. However, with the passing of time, that object may change in color or sustain damage, coincidentally allowing us to
    distinguish between it and its reproduction. In this instance, is it possible for the reproduction to obtain uniqueness and singularity? In fact, Yamamoto’s past works have consistently developed this motif, portraying the reproduction’s ability to achieve its own quality as a result of changes in the original over the course of time.

    Yamamoto drew inspiration for Aging from several of Claude Monet’s painting series. During the 1890s, Monet began work on his Haystacks, Poplars, and Rouen Cathedral paintings. These series make use of the same composition and motif, rendered in morning, midday, and evening to depict changes in light. Monet believed that as light shifted color tones, it could ultimately change the same object into a separate entity. This point of view would connect years later to Andy Warhol’s Color Variations. In addition to the changes of color throughout Monet’s series, there is one more variable: time. In the Poplars series, the branches and leaves of the trees change as time progresses, while in the Haystacks series, snow gathers on the haystacks. Monet’s depictions of the shifts in light and time created a phenomenon. In letters to his friends, Monet described the notion of capturing a moment, and through this reference, one can see that even the shortest increment of time can change identical objects into separate entities.

    Time (and the experiences that go hand in hand with it) changes the same object into something different. With this central philosophy, Yamamoto presents his series Aging painting. By faithfully recreating photographs with precise intention, down to every worn and aged detail, these works embody their own sense of uniqueness and singularity in spite of being recreations. They embody a question Yamamoto has invested in — is there something to be gained in seeing them side by side with their originals?

    100 Years - SANYO 100 nen coat featuring Ricardo Gonzalez

    2017.10.13 ( fri ) -2017.10.17 ( tue )

    hpgrp GALLERY NEW YORK is pleased to announce the opening of "100 Years - SANYO 100 nen coat featuring Ricardo Gonzalez". Brooklyn based artist Ricardo Gonzales shows the latest art works inspired by the concept of  SANYO 100 nen coat. The opening reception with the live painting by the  artists will be held on Friday, October 13th, 2017.


    About 100 nen (100 years) coat



    When SANYO SHOKAI reached its 70th anniversary in 2013, it adopted the tagline "TIMELESS WORK", as a policy for becoming a company that consumers will empathize and resonate with, and come to love. It started work on making the "100nen coat" as a way of realizing that tagline. Starting in October, it gradually rolled the range out to department stores nationwide, and to Sanyo iStore, its own e-commerce site. The theme of the "100nen coat" is "a coat that will be loved for generations. It was developed in the "Sanyo" coat brand, which was the company's starting point.


    [Sanyo-goshi Original checked pattern]

    We believed that Kabuki is the roots of the popular culture for Japanese entertainment arts, which is what led to our development of an original checked pattern <Sanyo-goshi> that was inspired by the Okina-goshi pattern seen in Kabuki.

    Okina-goshi a bold line means an old man and thin lines mean grandchildren. That’s the reason Sanyo has decided to make sanyo-goshi their concept ,100nen coat create to be loved over a long time through many generations.


    Ricardo Gonzalez

    Born in Cd. Juarez, Chihuahua and raised in Durango, Mexico. Ricardo Gonzalez is a graphic designer focused on lettering, typography, calligraphy & art installations. His passion for letterforms comes from his childhood when looking at old letters written in Spencerian by his grandfather in the 1950’s. In 2008 Ricardo moved to Canada where he studied graphic design at Mohawk College. After his studies he worked as a screen printer for a two years in Ottawa ON, during this time he rediscovered his passion for calligraphy and began to experiment with letterforms. In the fall of 2012 he moved to Toronto to work as a freelance graphic designer, but after just four months he headed down south to his home town of Durango, Mexico, to work full-time as an independent designer. Then, in the summer of 2014, he moved to New York City to attend Type@Cooper where he earned a typeface design diploma from Cooper Union. Ricardo is currently based in Brooklyn.



    Sanyo New York is an outerwear brand that focuses on quality, design, and technological advancement. We pride ourselves in being an affordable luxury brand that creates contemporary coats of top-brand quality using the best and innovative fabrics. Sanyo Shokai New York Inc. was established in 1978 by Sanyo Shokai of Tokyo, becoming one of the pioneers in the global trend of Japanese brand launches in the States. Sanyo Shokai is one of the largest apparel manufacturers in Japan that has a long rich history dating back to 1943. Sanyo was the first to treat wool gabardine for water repellency, and ventured out in being the first to use lightweight and breathable parachute material to create a coat of durability and strength. Our motto, Shin-Zen-Bi (Integrity, Quality, Beauty), embodies the process in the designing and production of our coats, as well as the end-product itself. The implementation of cutting-edge technology, in order to continually exceed the needs and expectation of our discerning customers, defines our products from inception to delivery. As technology advances, Sanyo will continually improve and redesign our coats to parallel the advancing times and to be a pioneer in producing contemporary outerwear.



    “100 Years - SANYO 100 nen coat featuring Ricardo Gonzalez" will open its pop-up shop in Nolita starting from December 15th to December 21st, 2017. More details will be announced soon. Stay tuned to our website, facebook and instagram for all the latest updates.


    2017.09.30 ( sat ) -2017.10.06 ( fri )

    ARTIST Guest artist: Masaya Nakayama
    Exhibit Artists: Yoshiaki Komatsu, Leo Chibana, Ayano Yoshida, ATSU, Taiga Matsunaga, Katsuya Yamamoto, Anna Kuratsubo, Momoko Kimura, Hirotaka Sato, Ryo Kajitani, Heronobu, Yoshimori Mutsuko, Popopo Hompo, Takahiro Kitamura, Senhiko Nakata, Masaki Watanabe, Noriaki Tanimua, Yoshimi Fujita, Seiya NAKAZAZKI , Yuta Ikehara, Hasaqui Yamanobe

    Image: (c) Yuta Ikehara


    hpgrp GALLERY NEW YORK is pleased to announce the opening of MONSTER.

    This is the fifth time since 2011 that MONSTER Exhibition has held its exhibition. The public has been invented to join the contest for the best “KAIJU(MONSTER)” arts. Artists have been selected to show their new style at 8/COURT(HIKARIE, Shibuya) and hpgrp GALLERY(New York).


    The“KAIJU(MONSTER)” theme will incorporate the metaphor of The Great East Japan Earthquake and subsequent tsunami. However, the artists are free to interpret the metaphor. Because of the recent earthquake in Kumamoto, some artists expressed their feelings through this disaster. We can see not only the expression of disaster but also expressions of humanity, politics and self-expression. It mirrors what happened through the filter of “KAIJU(MONSTER)”. We opened MONSTER exhibition

    to different mediums such as paintings, sculptures, architecture, design, movies and graphic.


    2017.09.15 ( fri ) -2017.09.27 ( wed )

    ARTIST WOW x Gabriel Pulecio
    Opening Reception -September. 15th, Friday, 6pm-8pm

    "BEYOND CASSINI" is an experimental art installation celebrating the life and death of one of Nasa's most successful satellite programs.

    hpgrp GALLERY NEW YORK is pleased to announce the opening of "BEYOND CASSINI", an original new art work by WOW, a visual design studio based in Tokyo and London in collaboration with Director, Tyler Bowers and Artist, Director Gabriel Pulecio. The opening reception with the artists will be held on Friday, September 15th, 2017.

    It’s been said, just before a person dies their life’s biggest moments flash before their eyes. “Beyond Cassini” uses this narrative to celebrate the accomplishments of one of the most successful and beloved Satellites in space exploration history. As Cassini begins its final flight into Saturn’s upper atmosphere with a mission of disintegration, visuals flash back through time giving viewers highlights of this dying satellite’s life. Fleeting moments and flashbacks allow viewers to celebrate 20 years of Cassini’s achievements in a very personal, non-linear, stylized exhibition.

    Love & Obsession

    2017.08.18 ( fri ) -2017.09.08 ( fri )

    ARTIST Tadahiro Gunji / Fantasista Utamaro

    left: ©Tadahiro Gunji  Collectivity 016 2017  Acrylic, Resin Coatings On Wood Panel  63"x53"
    right: ©Fantasista Utamaro  Colorblind : Blue/Pink  2017  Acrylic, Epoxy Resin, On Plywood  30”x30”


    hpgrp GALLERY NEW YORK is pleased to announce ‘Love & Obsession’, features the works of Japanese artists Tadahiro Gunji and Fantasista Utamaro. From the aesthetics of ancient paintings to high-context Anime culture, they easily cross over the boundaries.


    2017.06.21 ( wed ) -2017.07.29 ( sat )

    ARTIST Tetsugo Hyakutake, Tomoyuki Ueno and Yuken Teruya

    The exhibition has been extended by one week, now closing on Saturday, Aug. 5th, 2017.


    hpgrp GALLERY NEW YORK is pleased to announce ‘Transboundary’, a group exhibition of Japanese artists from June 21st to July 29th, 2017. ‘Transboundary’ features the works of three artists, Tetsugo Hyakutake, Tomoyuki Ueno and Yuken Teruya, focuses on themes such as identity, history, politics and cultural diversity. The opening reception will be held in conjunction with the 4th edition of Tribeca Art Night.



    ©Yuken Teruya  Minding My Own Business(Jan25,2014), 2015, New York Times, 12.5”x 12”x 2-1/8” (up right)

    ©Tomoyuki Ueno  Don’t You Wanna Dance?, 2017, Brass, Iron and  Wood, 41”x 81”x 31-1/2” (up left)

    ©Tetsugo Hyakutake  Industrial Port, Kashima, Japan 2009, Archival Pigment Print, 16”x 56”/each (bottom)

    Milk on the Edge

    2017.05.05 ( fri ) -2017.06.10 ( sat )

    ARTIST exonemo

    New York, April 12th, 2017 - hpgrp GALLERY NEW YORK is pleased to announce the first soloexhibition in the U.S. by Japanese artist duo exonemo. Internationally recognized, their work has been featured at institutions including the New Museum, Nam June Paik Art Center, the National Art Museum of China, and Museum of Contemporary Art Tokyo.
    Formed by Yae Akaiwa & Kensuke Sembo, exonemo began releasing their artworks on the internet in 1996. From 2000 onward they expanded their activities into physical spaces, in the form of installations, performances, public interventions, and mixed media art. In hpgrp they will present new works that employ framed LCD screens alongside Body Paint (2014), an ongoing video series featuring hand painted monitors. “Milk on The Edge” expounds exonemo’s interest in the limits and possibilities of corporeality and identity in today’s information society, particularly investigating the way information devices create frames that alter perceptions of the world.
    Initially focused on programming-based software art in the 90s, their transition into physical works include Natural Process (2004), a large acrylic painting of Google’s top page (later acquired by Google), and The Road Movie (2006), a mobile installation that incorporated origami paper folding, webcams, a bus, and GPS technology. The Road Movie was notably awarded Ars Electronica’s highest award, the Golden Nica for its innovation in art and technology. In 2012, exonemo established a secret society on the internet known as IDPW and created the Internet Yami-ichi (Black Market), an internet inspired ea market for goods and services at the cusp of virtuality and actuality. Reaching an international audience, exonemo has led Yami-Ichis in over 14 cities around the world, traveling to New York, Tokyo, London, and Seoul. In 2015, exonemo moved to New York through an artist grant by the Agency for Cultural Affair, Government of Japan, since then they have joined New Inc. an incubator for art, design, and technology led by New Museum.
    This exhibition is supported by MAM/Tokyo (Masu Hiroshi Masuyama).


    Artist Statement:
    “On the edge!” Said the landlord as she spat out the milk.
    Two years ago, right after when we moved from Japan to New York, we bought some milk. It tasted different from what we were used to, but we thought maybe that's just the way things are here. Then we asked our landlord to see what she thought.
    In crossing the national borders, from Japan to New York, even the borderlines between “fresh and rotten” ––– something we should have instinctively sensed ––– became confused. What unreliable interfaces our bodies are! Today, constantly connected to the world via technology, our bodies are expanding their borders, and trying to touch the world beyond the frames provided. The boundary territories just beyond the screens, and vague new borders are marked by the spray of foul milk.

    The quiet breathing of a nameless forest

    2017.04.27 ( thu ) -2017.05.03 ( wed )

    ARTIST Yuko Bito


    2017.03.30 ( thu ) -2017.04.15 ( sat )


    hpgrp GALLERY NEW YORK is pleased to announce “Speak Easy” by photographer Sarai Mari from March 30th to April 15th, 2017.


    Sarai Mari is a Japanese fashion photographer who has worked in New York, London, and Tokyo. After beginning her career as a photojournalist, Mari transitioned to fashion photography, her work appearing in the likes of Interview, Harper’s Bazaar International, Porter, Numero, and Vogue Japan shooting the likes of Adele, Tom Hiddleston, Amy Winehouse, and Scarlett Johansson.


    Much of her work is inspired by Helmut Newton for his erotically charged representations of strong women. Mari’s book Naked, a monograph of female nudes published in 2011, is the culmination of two years of work around the subject of femininity and female sexuality, suffused with Mari’s provocative interpretation of female strength.


    In March 2017, Mari will release her second book via Damiani Books, Speak Easy, inspired by the gender roles men and women play within society. By celebrating all definitions of gender and sexuality, the previously defined terms fall away. They lose their meaning; and there is nothing left but the raw expression of the subject in the image. Subjects featured in the book include Clara Paget, Hikari Mori, Janice Dickinson, and Sonoya Mizuno.



    Artist’s Statement

    Since I was a child, I have rebelled against these rules and these societal definitions. We all share a desire to be understood, to be accepted and approved of. In our radically changing and highly judgmental society, people are often scared of being isolated or left behind. So they conform to fit in. But in adhering to an outside perception of oneself, we are unconsciously denying our true selves.

    I have become obsessed with discovering the true people behind the masks. What lies hidden beneath the skin is often much more beautiful than which is projected outward. Since I was young I have seen a simple transparency in the complex relationships people have with each other. I am obsessed with hidden secrets. I break down the layers through my lens and the mask falls away, revealing an intimate vulnerability that makes time stop.

    Japanese Samurai Fashion

    2017.02.28 ( tue ) -2017.03.25 ( sat )

    ARTIST Everett Kennedy Brown

    hpgrp GALLERY NEW YORK is pleased to announce “Japanese Samurai Fashion”, an exhibition of mixed media images by Japan based artist and cultural interpreter Everett Kennedy Brown. In conjunction with the March anniversary of the 2011 Great East Japan Earthquake the exhibition will be held from February 28th to March 25th, 2017.


    Using wet plate collodion photography and advanced digital techniques Brown presents a multilayered visual experience that offers uniquely fresh and powerful insight into the rich cultural tapestry of samurai fashion, as it continues to exist in the lives of the people living in Soma, Fukushima (the site of the recent nuclear disaster).


    Through his friendship with Michitane Soma, the 34th generation head of the Soma warrior clan, Brown was given access to photograph the local people of Soma, who have been continuing their samurai horseman heritage for more than 800 years. Though Brown has exhibited and published his work widely in Asia and Europe, this is his first solo exhibition in New York.


    The “Japanese Samurai Fashion” exhibition presents two major bodies of work. Using antique lenses and wet plate glass negatives, Brown took portraits of 44 Soma residents wearing traditional samurai costume that they wear in the annual “Nomaoi (Wild Horse Chase) festival. In exposures of 10 seconds the men, women and children draped in formal samurai wear that have been handed down from generation to generation, reveal a soul and strength of spirit that transcend time and space. Brown’s exceptional images capture old layers of Japan that ask fresh new questions into the meaning of history and represent important cultural documents that will be sources of study and insight for time to come.


    In Brown’s second body of work presented in the exhibition, using advanced digital techniques, he juxtaposes two major elements of Japanese aesthetics. His color images articulate the flamboyantly colorful “Kabuki-like” aspects of Japanese culture that stand in contrast to the subdued “wabi sabi” aesthetic revealed in his classic wet plate black and white images. Based on color photographs Brown shot of 108 samurai horsemen, the images vividly focus our attention to the rich tapestry of color and design to be discovered in samurai fashion.  The cultural importance of this body of work is evident in that these images ask serious questions for the first time ever about the origins of samurai fashion motifs and their influence from South East Asia, India and Middle Eastern textile traditions.


    According to respected critic and cultural icon, Seigo Matsuoka, "In the history of Japanese photography, no other foreign photographer has documented Japan with deeper insight."  In this exhibition, Everett Kennedy Brown has brilliantly fused tradition and innovation to provide fresh new insight into aspects of Japanese culture that have not been explored until now.


    Copies of his new book “Japanese Samurai Fashion” will be available for purchase and signing at the reception party on Feb.28th.