JACOB HASHIMOTO – September 2006
32 pages – text by Luca Massimo Barbero (Italian/English)
15 colour reproductions - 35 black/white
for viewing only
32 pages – text by Luca Massimo Barbero (Italian/English)
15 colour reproductions - 35 black/white
for viewing only
Space Like a Breath
Jacob Hashimoto’s work really is a Luxury for the Eye and for visual perception. It could also be defined as a Feast for the Eye, but that would be imposing a limit. Probably you will be asking what the difference is between the two statements. So, a feast is thought out, organised, or it derives from momentary, ephemeral, hedonistic typicality. Luxury for the eye (not to be confused with luxury goods which, recently, have been mistaken for art objects) is difficult to arrive at, like a delicious yet, at the same time, dangerous balance that, once it has revealed itself, must remain so. For ever.
I’ve always loves Jacob’s ability to manoeuvre himself physically, together with his work, through areas and techniques and different methods while maintaining an unvaried coherence which is though, at the same time, variable. His incessant technological action with positives and negatives in his Waterblocks and, with the same concept though manually in this case, in the wall pieces reconfirms his almost paradoxical aim of repeating through variations while never repeating himself.
Working in this way he allows us a Luxury, he creates it for those of us who are viewing a complex space, so concentrated and thought through that it even seems at first sight airy and minimal, happy and carefree. Which, in fact, it isn’t, or at least it isn’t just that. Let’s take these new wall pieces as an example, almost as though using them to construct a possible story on the basis of the work of this artist, a story to be told one step at a time. For some years now monochrome white seems to be at the heart of his large-scale works. Immense white elements make up infinite suspended works. The same colour is used for various works in private collections where the elements or, as some call them, the kites are at a great height and are often seen against a light source which exalts the white purity and a symbolism that is as luminous as it is abstract. White too are the flowering spheres of his artificial and ironic Trees and so are the elements of Microbursting Thunderhead where light was the effective, electrical part of the sculpture itself. And so too are certain apparently monochrome new white wall-pieces and, in order to define them better, I would like to write that they are “anchored to the walls”, almost as though they were trying to give rhythm and order to the high points and threads that have the precise task of “anchoring these extraordinary cloudlike apparitions” to a portion of the wall and to its airy protrusion into space. …”
Jacob Hashimoto’s work really is a Luxury for the Eye and for visual perception. It could also be defined as a Feast for the Eye, but that would be imposing a limit. Probably you will be asking what the difference is between the two statements. So, a feast is thought out, organised, or it derives from momentary, ephemeral, hedonistic typicality. Luxury for the eye (not to be confused with luxury goods which, recently, have been mistaken for art objects) is difficult to arrive at, like a delicious yet, at the same time, dangerous balance that, once it has revealed itself, must remain so. For ever.
I’ve always loves Jacob’s ability to manoeuvre himself physically, together with his work, through areas and techniques and different methods while maintaining an unvaried coherence which is though, at the same time, variable. His incessant technological action with positives and negatives in his Waterblocks and, with the same concept though manually in this case, in the wall pieces reconfirms his almost paradoxical aim of repeating through variations while never repeating himself.
Working in this way he allows us a Luxury, he creates it for those of us who are viewing a complex space, so concentrated and thought through that it even seems at first sight airy and minimal, happy and carefree. Which, in fact, it isn’t, or at least it isn’t just that. Let’s take these new wall pieces as an example, almost as though using them to construct a possible story on the basis of the work of this artist, a story to be told one step at a time. For some years now monochrome white seems to be at the heart of his large-scale works. Immense white elements make up infinite suspended works. The same colour is used for various works in private collections where the elements or, as some call them, the kites are at a great height and are often seen against a light source which exalts the white purity and a symbolism that is as luminous as it is abstract. White too are the flowering spheres of his artificial and ironic Trees and so are the elements of Microbursting Thunderhead where light was the effective, electrical part of the sculpture itself. And so too are certain apparently monochrome new white wall-pieces and, in order to define them better, I would like to write that they are “anchored to the walls”, almost as though they were trying to give rhythm and order to the high points and threads that have the precise task of “anchoring these extraordinary cloudlike apparitions” to a portion of the wall and to its airy protrusion into space. …”
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