Takashi Hinoda (b.Kobe-city,Japan 1968-)
Takashi Hinoda membuat karya-karya keramik dengan bentuk-bentuk eksentrik, yang diselimuti dengan gambar-gambar yang cerah nan datar. Persandingan di antara sosok figur tiga dimensional dengan grafis dua dimensional menghasilkan suatu ekspresi dengan jejak-jejak ironi yang sebanding dengan afirmasi atas sisi ketegangan yang terkan- dung dalam masyarakat masa kini. Hinoda tertarik dengan bagaimana di dunia modern, informasi dan benda-benda material berpindah dan dikonsumsi dengan sangat cepat. Kecepatan ini sendiri telah menjadi landasan masyarakat kita sekarang. Menghubungkannya dengan alam bawah sadar, Hinoda mendekatkannya dengan gambaran pengli- hatan atau visi di dalam mimpi. Pergerakan dalam mimpi yang tidak terkungkung hukum fisika dan hukum alam, adalah yang digambarkan ulang olehnya, yang meski tidak riil mampu merubah kenyataan lewat alam bawah sadar.
Membuat keramik baginya memiliki kutub yang berbeda dengan instalasi—yang harus dialami dan dirasakan langsung, memiliki kesementaraan. Keramik sementara lebih mencari nilai abadi dan monumental. Dalam menggabungkan keduanya dalam karya-karyanya, terdapat kontras yang mempertemukan ingatan sementara dan yang tetap.
Takashi Hinoda produces ceramic works of eccentric forms and covers them with flat and vivid images. The co-existence of three-dimensional figures and two- dimensional graphics generates a complex and unique expression with hints of irony as much as affirmations of today’s society where anxiety lurks. Hinoda is inte- rested how in modern society, information and material things are moved and consumed so rapidly. The crazy speed is at the foundation of our society now. Relating the perspective with the subconscious, Hinoda pairs it with his interest on visions people see in their dreams. The movements of things and phenomenon we see in our dreams are not influenced by the laws of physics (gravity and inertia). Although the visions we see in our sleep are not the reality, he believes that they have the power to change the reality through our subconscious mind.
Making ceramics, for him, is very different with making installations—which has to be entered and physically experienced. While making ceramic pieces seek some- thing for a sense of eternity and monumental value, In combining both in his works, there exists a sense of contrast which also combine the ephemeral and fix- ated memory.
In modern society, particularly in urban culture, information and material things are moved and consumed so rapidly. That kind of crazy speed is at the foundation of our society now. I believe that my works honestly reflect this speed. However, I don’t have any intention to judge and punish modern world by looking down upon it because I am also a member of modern society. One of the distinctive features of modern society is the extremely shortened waiting time for one’s desire to be realized. Speed for changes is increasingly accelerating. Subliminal desire of civilized society is realization of the world where one’s brain and the real world is directly connected, the world where whatever one thinks of can be realized instantly or where people can control their environment as they please. On the other hand, modern society has very poor ability in building a good relationship with nature and how to approach and cope with the phenomenon of the world that we cannot comprehend. For example, modern people know very little about their own body, which is the closest form of nature to their life. And, our body cannot escape aging and death. This has always been one of most crucial theme in art history which so many artists have continued to pursue with extreme interest, and is what I am very interested in.
I am also very interested in the visions people see in their dreams. The movements of things and phenomenon we see in our dreams are not influenced by the laws of physics (gravity and inertia). Although the visions we see in our sleep are not the reality, I believe they have the power to change the reality through our subconscious mind. I hope that my works depicts the intermediary sense that is not either a reality nor illusion.
Coil-built,Air-brushed Engobe, Underglaze Pigments and Glazes
45 x 60 x 45 cm
Photographed by Kazuo Fukunaga
Her Light Speed
Coil-built,Air-brushed Engobe, Underglaze Pigments and Glazes 105 x 49 x 41 cm
Photographed by Kazuo Fukunaga