ABOUT ME

"The diversity of the relations of line to line must be indefinite; on this condition, it incorporates quality, the incommensurable sum of the affinities perceived between that which we discern and that which pre-exists within us"  

A. Gleizes and J. Metzinger 

 

 

     I'm always wondering to myself, "What is art after all?" Surrounded by hyper-excessive visual media, almost being paralyzed by mediacracy and information manipulation, what does painting mean to me compared with other numerous artistic expressions, especially living in the epoch of post-Marcel Duchamp, who revolutionarily wiped out the meaning of art, or else seemed to declare "Art is dead" in presenting a "ready-made" toilet as a work of art? I admit, of course, and enjoy its profound argument totally, though... How can I challenge this intricate contemporary society by means of visual art, if at all? I do believe that art still has the power to convey some elements of core meaning to humanity with its own language.

     I'm also curious about how art, particularly painting, has been related to the human race since humanity gained painting before any letters had been invented in prehistory. That's why I use a primitive yet core creative expression unique to humanity, namely drawing and painting which, I believe, has served as a fundamental means of human communication for shamanic communities in the prehistoric era, then for invention of writing (some might argue that there are still numerous tribes without letters in the globe and once were significant civilizations such as the Inca Empire), and even for forming civilizations. They also served to educate illiterate peoples, cultivate and develop cultures, and inspire human minds throughout history.

     Furthermore, I'm greatly intrigued by scientific studies, particularly neuroscience, which is reforming our understanding of humanity drastically day by day. I was stunned when I found the fact that the processing-perceptual system of the human visual brain processes for the perception of form, space, and colour by the oriented lines predominantly, while Area V5 in which all cells are selectively responsive to motion responds mostly to the spot stimulus. I just wonder if this cognitive process of the human visual brain might suggest how the core human communication tool shifted from drawing and painting to the invention of writing in prehistory. This evidence actually drew me to create a new method of brush hatching technique using Japanese sumi ink and acrylic. The body of work hence consists of "oriented lines". This is also inspired by the concept of disegno, the aesthetic approach based on drawing established in Florentine school in the early Renaissance period. The use of Japanese sumi ink, which was propagated from ancient China, and which Japanese people adopted as the unique style of ink painting called “Sumi-e” (Hasegawa Tohaku is reckoned to be the best of all), is the key element of my practice, which aims to bridge East and West by sampling the rich cultural, artistic and ideological heritage of both.

    My aim is to explore the unbroken line of the relationship between humanity and art from the primeval times, to look into the origin of human creativity by enquiring about its meaning in a contemporary context, and to sublimate the conception into my own visual language. In this way, I’m exploring alternative expression by means of the core creative activity of humanity, i.e. drawing and painting through delving into the human act of seeing, so that my work raises questions regarding the mystery and dignity of humanity, the potential of painting and drawing among numerous artistic expressions, and how to bridge East and West, with their great heritage and contemporary understanding.

イギリス湖水地方在住の日本人美術家 | JAPANESE ARTIST IN THE ENGLISH LAKE DISTRICT | UNITED KINGDOM

Hideyuki Sobue's Portfolio | Copyright © 2020 Hideyuki Sobue. All rights reserved.

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