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"L'espoir: Makoto Hatori" at Suruga-Dai Gallery, Kanda, Tokyo, 1969

The idea behind these pieces, i.e. state of characteristics and materiality, continues to the present in my work.

1 of 2
Download to read offline
http://www2r.biglobe.ne.jp/~makoto-h/
Clockwise from left: Preparation for the exhibition. Right: Makoto preparing for the exhibition. Bottom left: "Phase"
The different amount of sand in three semi-circle shape boxes. Right: "Relation" A cylindrical cloth stuffed with sand
was placed on a cylindrical plaster. Exhibited abstract pieces made from plaster, wood, cloth (canvas) with coloring, as
well as from sand. Makoto intended to express the "state" of the physicality through the raw materiality. The idea
behind this piece, i.e. state of characteristics and materiality, continues to the present in my work. Held a solo
exhibition "L'espoir : Makoto Hatori" at Suruga-Dai Gallery, Kanda, Tokyo, 1969.
The artwork has its own raison d'etre as an objective substance. The essence of an artwork does
not necessarily draw its artistic power from the subjective self of the artist. Conventionally, how-
ever, people who try to appreciate an artwork tend to regard the artwork as an expression of the
artist's internal self. The conflict between the artist and the recipient, in terms of the artwork,
starts from here.
In some eras, religious passion stimulated the imagination in the internal self of the artist. For in-
stance, in the Western Middle Ages artist's devout belief in God--and the internal imagination
that accompanied it--produced large numbers of Christian paintings. Painters and people who
view these works share a universal epistemic stemming from the belief, which reflects the com-
pletion of the religious doctrine. Buddhism also produced a large number of Buddhist artworks
designed to spread the Buddhist doctrine.
In the present era, when the uniformity of time and space is increasingly under doubt and per-
ceived as something more chaotic, the external world itself is perceived as containing the artistic
image. Thus, the image of the internal self is understood to be its shadow, a phantom whose sub-
stance exists in the external world. The present-day sense of creativity, therefore, resides in how
to find the artist's self among these external images.
It has long been the case, in fact, that the image that produces an artwork is often external and
does not come from the internal self of the artist. We can readily see this in the uniform craft
pieces produced by long experience (which tend to lack originality and logic) or in the fancy,
smart, and/or stimulating works accepted in the sub-culture. Many of the misconceptions about
contemporary art may have to do with this structure.
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"L'espoir: Makoto Hatori" at Suruga-Dai Gallery, Kanda, Tokyo, 1969

  • 1. http://www2r.biglobe.ne.jp/~makoto-h/ Clockwise from left: Preparation for the exhibition. Right: Makoto preparing for the exhibition. Bottom left: "Phase" The different amount of sand in three semi-circle shape boxes. Right: "Relation" A cylindrical cloth stuffed with sand was placed on a cylindrical plaster. Exhibited abstract pieces made from plaster, wood, cloth (canvas) with coloring, as well as from sand. Makoto intended to express the "state" of the physicality through the raw materiality. The idea behind this piece, i.e. state of characteristics and materiality, continues to the present in my work. Held a solo exhibition "L'espoir : Makoto Hatori" at Suruga-Dai Gallery, Kanda, Tokyo, 1969. The artwork has its own raison d'etre as an objective substance. The essence of an artwork does not necessarily draw its artistic power from the subjective self of the artist. Conventionally, how- ever, people who try to appreciate an artwork tend to regard the artwork as an expression of the artist's internal self. The conflict between the artist and the recipient, in terms of the artwork, starts from here. In some eras, religious passion stimulated the imagination in the internal self of the artist. For in- stance, in the Western Middle Ages artist's devout belief in God--and the internal imagination that accompanied it--produced large numbers of Christian paintings. Painters and people who view these works share a universal epistemic stemming from the belief, which reflects the com-
  • 2. pletion of the religious doctrine. Buddhism also produced a large number of Buddhist artworks designed to spread the Buddhist doctrine. In the present era, when the uniformity of time and space is increasingly under doubt and per- ceived as something more chaotic, the external world itself is perceived as containing the artistic image. Thus, the image of the internal self is understood to be its shadow, a phantom whose sub- stance exists in the external world. The present-day sense of creativity, therefore, resides in how to find the artist's self among these external images. It has long been the case, in fact, that the image that produces an artwork is often external and does not come from the internal self of the artist. We can readily see this in the uniform craft pieces produced by long experience (which tend to lack originality and logic) or in the fancy, smart, and/or stimulating works accepted in the sub-culture. Many of the misconceptions about contemporary art may have to do with this structure.