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SADO CONTEMPORARYHONMA HIDEAKI

WATANABE CHIAKI

HONMA HIDEAKI Knot – Mobius Strip, 2011,14 x 29.5 x 16.5 inches

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SADO CONTEMPORARY

HONMA HIDEAKI creates sculptures with a physical presence and power inspired

by the rugged landscape of his home island of Sado, and by the sublime movements of

wind and sea. His studio practice is one deeply committed to process and the artistic

study of bamboo as a medium. He uses only hand-selected bamboo he harvests from

the forest of Sado Island. Returning to his studio he cures the plants turning them into

workable material. Hideaki’s touch in every step provides him with an insight into bamboo

and tradition that comes only from experiencing the bamboo artist’s path as it was a cen-

tury ago. With his keen understanding and awareness of the history of Japanese bamboo

art, Hideaki creates very innovative and beautiful sculpture that brings techniques from

the past into a contemporary visual vocabulary.

His father and teacher, Honma Kazuaki,was also a very clear and important influence

in Hideaki’s artistic development. Drawing and extensive study are practices fundamental

to Kazuaki’s philosophy and are also integral to Hideaki’s process. Kazuaki’s works have

a lyrical feeling very much formed by a relationship to lines created through a dedicated

practice of visual understanding through sketching. This quality is also very present in

Hideaki’s work. Pieces like Rolling Shape and Knot – Mobius Strip are reflections of a

student taking the teacher’s ideas and molding them into his own voice.

Other masters Hideaki knows only through experiencing the artworks they created.

Higashi Takesonosai, for example, was an influential artist from Kyoto who invented many

new techniques for plaiting and shaping bamboo as in the vessel, Sound of the Whirl-

pool,1977, found in the collection of the Asian Art Museum in San Francisco. Hideaki

brings that same spirit and Higashi’s techniques to pieces like Sign of Wind – Stream and

Sign of Wind –Waves.

In Sign of Wind – Stream, the bamboo is bent is such a way that the surface of the

piece is active with a feathery volume created by the loops of shaped bamboo. This

creates subtle shadows dancing like a strong wind across the surface of water.

HONMA HIDEAKI Rolling Shape, 2010, 22 x 22 x 9.5 inches

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The crescent shape of Sign of Wind –Waves is poised like a wave rushing onto a

beach. The movement of the sculptured bamboo in the interior of the artwork is the same

technique seen in Sign of Wind – Stream, but presented in a careful structure resembling

the ripples of a wave receding from the sand. This creates a beautiful synergy capturing

the movement of the sea along the shore.

In his new body of work Honma Hideaki reflects a deep understanding of bamboo

as an artist’s material and the history of the art form itself. His reverence for both comes

together in artworks that reflect his joy in his creative process.

� Everett Cole, July 2012

HONMA HIDEAKI Knot – Harmony, 2011,14.5 x 21.5 x13 inches (above, cover)

Tetrahedron I I, 2012,16 x 20.5 x10.5 inches (right)

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HONMA HIDEAKI Cool Wind, 2012, 7 x 29 x14.25 inches

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SADO CONTEMPORARY will mark the 25th year since I began exhibiting my artwork

in public spaces. I had my first show at TAI Gallery in 2007. Since then, many things

have happened in the world: the world economy has become very unstable; the tsunami

that struck northern Japan was a traumatic experience; and the nuclear accident that

occurred in Miyagi, Japan has not yet been resolved. In these difficult times, I will have

my second show at TAI Gallery. I am grateful to have this opportunity.

On a personal note, I started to work as a bamboo art instructor at the bamboo

vocational school which opened in 2008. Half of the time in my studio was replaced

by teaching at the school. Time management was challenging for me. However, through

this teaching job, I was able to meet other bamboo artists who lived outside of Sado

Island. My new friends and I often discussed how to improve bamboo tools and how

we could improve our techniques using these tools. We also shared our inspirations and

knowledge about bamboo art. I believe that my new friendships helped me to reflect

upon my artworks and reinvigorated my creative process.

Both the Nitten School of bamboo art and the basket-making school where my

colleague, Mr. Kawano, and I taught, use bamboo as the primary medium. However,

they were established based on opposite principles. The artists from the Nitten School

seek out originality whereas we consider ourselves to be fine artists. Our ability to respond

to the characteristics of each type of bamboo and to be able to incorporate it into new

compositions is crucial to us. In my opinion, even if an artist is an excellent craftsman, if

he or she is imitating another artist’s style, he or she will never get to exhibit at a Nitten

exhibition.

It is difficult to make art. It takes a lot of mental strength to make artwork that challenges

the history of bamboo art tradition. Skills, intelligence, and adaptability are important

aspects of making works of art. My father, Honma Kazuaki, also a bamboo artist, taught

me that strong structures and rhythmical lines create dynamic expressions.

My philosophy in bamboo art is based on the book, Illustrated Textbook of Bamboo

Art – From Bamboo to Art Objects, by Sato Shogoro. Sato wrote, “…you must trans-

form your soul into a bamboo spirit.” My understanding of Sato’s teaching is that I must

comprehend the characteristics of bamboo deeply so that I am able to respond to its

personality and, through spiritual dialogues with it, create works of art.

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The important characteristics of bamboo are that it is lightweight and composed of

fine straight fibers.When a culm of bamboo is cut into fine strips, its strength is lost. My

job is to reestablish that strength by weaving it into shapes. Sato also implies that in order

to make expressive works of art, the artist must utilize the flexibility of bamboo in his work

because this is a unique characteristic of bamboo that does not exist in any other type of

wood. I also like to convey significant feelings through the feather-like light spirit of bamboo.

Sculpting bamboo art is different from traditional basket making in which a base is

made first and the body is then constructed in three dimensions within one unit. I use two

methods for constructing my sculptures. In one, I make separate parts of the sculpture first

and assemble them together to make one piece. The other method is to construct the

foundation with a bamboo called nemagaridake, and then weave cut bamboo strips

through it.

The materials are important. My preferred choices of bamboo are madake, nema-

garidake and menyadake which are grown on Sado Island where I live. Madake grown

in my region has wide spaces between the nodes. Sado Island is known for good-quality

menyadake. I do everything from harvesting bamboo in the forest to making it into artwork.

My studio space is also important. It is an old school building in which I have a very

large space needed to process large stalks of bamboo. Another reason I like my studio

is that the expansive space stimulates my imagination.

In 2002, I went on a field trip to study the Cotsen bamboo collection. This was the

threshold to my art career. I was very much affected by the beauty and energy of the

bamboo artworks in the Cotsen collection. This trip reinvigorated my creative energy. I

committed myself to making greater artworks than ever before. TAI Gallery has been an

outstanding source of support for me and I have had many exhibitions since 2002. I am

very grateful to have these opportunities to exhibit overseas and to have collectors who

appreciate my work. My job is to give my best to produce sublime works of art. I believe

that is my way of returning the favors to Mr. Coffland and the TAI Gallery staff who

made it possible for me to continue my career to this day. I thank you one more time, Mr.

Coffland and the TAI Gallery staff.

� Honma Hideaki

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HONMA HIDEAKI Watercourse I I, 2011, 21.75 x 16 x 8.5 inches (two views)

HONMA HIDEAKI Sign of Wind – Waves, 2012, 20 x 35 x15 inches

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HONMA HIDEAKI

Double Winds B, 2011, 20 x 33 x18 inches (above)

Sign of Wind – Stream, 2012,15.5 x 38.75 x13 inches (right)

HONMA HIDEAKI Rolling Shape – 2009, 2009,16.75 x 10 x 31 inches

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WATANABE CHIAKI is the first of a promising group of bamboo art students to make

the creative leap from student to artist. After working as a social worker for 14 years,

Watanabe quit his job and moved to Sado Island to attend the newly created school for

bamboo art under artists Honma Hideaki and Kawano Shoko. Within a few years of

training,Watanabe distinguished himself as an important up-and-coming artist. Working

under the mentorship of Honma Hideaki,Watanabe’s foundation in bamboo as a vehicle

for sculptural expression greatly expanded.

Like his teacher he takes inspiration from forms in the natural environment such as sea

life, wind and tide.Hideaki’s influence is present inWatanabe’s artwork,butWatanabe’s

compositional thinking differs from his teacher’s. His creative play of translucency and

intersecting forms are Watanabe’s unique additions to the visual dialog in bamboo art.

These sculptures have a clean truthfulness to them.The sweeping open planar spaces in

artworks like Quaking in the Wind and Illusionary Wave have an elegant simplicity that

is light and uplifting.

Watanabe is bringing a fresh energy to his sculptures. Adding his unique voice to the

artistic conversation of Japanese bamboo art, he is part of a younger generation taking

on a challenging medium and creating amazing artwork.

� Everett Cole, July 2012

WATANABE CHIAK I Branching Out, 2011,16 x13.25 x 24 inches

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WATANABE CHIAK I Quaking in the Wind, 2012,13 x 18 x10.5 inches

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WATANABE CHIAK I

Crossing I I, 2012,19 x 7 x19.5 inches (above)

Illusionary Wave, 2012, 26.75 x 20.75 x18 inches (right)

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HONMA HIDEAKI

1959 Born in Hatano-cho, Sado-gun, Niigata Prefecture

1990 Admitted to Niigata Prefecture Arts Exhibition (exhibited 4 times)

Winner of Governors Award at Niigata Contemporary Craft Arts Exhibition

(Thereafter won 3 other awards: Niigata Newspaper Award,

Niigata Mayor’s Award, and Niigata Chamber of Commerce Award)

1991 Admitted to Japan Contemporary Craft Arts Exhibition (exhibited10 times)

1992 Admitted to Nitten, Japan Fine Arts Exhibition (exhibited 6 times)

Winner of Encouragement Award at Niigata Prefecture Arts Exhibition

1993 Winner of Encouragement Award at Niigata Prefecture Arts Exhibition

1994 Winner of Contemporary Art Award at Japan Contemporary Craft Arts Exhibition

1996 Winner of Niigata Prefecture Art Award at Niigata Prefecture Arts Exhibition

2001 “Bamboo Fantasies,” TAI Gallery, Santa Fe

“The Next Generation,” University of Arkansas, Little Rock

2003 “Contemporary Japanese Bamboo Art,” Richmond Visual Arts Center, Virginia

2006 “Power & Delicacy: Master Works of Japanese Bamboo Art,” TAI Gallery

“Hin: The Quiet Beauty of Japanese Art,” Grinnell College, Iowa

“Hin: The Quiet Beauty of Japanese Art,” Chicago Cultural Center

Exhibited at the Boston Museum of Fine Arts

2007 “The Next Generation,” Asian Art Museum, San Francisco

Solo show, TAI Gallery

“New Bamboo: Contemporary Japanese Masters,” The Japan Society,

New York City

2009 “Intertwined: Contemporary Baskets from the Sara and David Lieberman

Collection,” The New Mexico Museum of Art, Santa Fe

“Many Shapes of Bamboo III,” Oita Prefecture Art Museum, Japan

2010 “Intertwined: Contemporary Baskets from the Sara and David Lieberman

Collection,” Museum of Art and Design, New York City

2011 “Many Shapes of Bamboo V,” Oita Prefectural Art Museum, Japan

2012 “Sado Contemporary: Sculpture by Honma Hideaki and Watanabe Chiaki,”

TAI Gallery

Museum Collections:

Art Institute of Chicago

Asian Art Museum, San Francisco

Clark Center for Japanese Art & Culture, Hanford, California

WATANABE CHIAKI

1969 Born in Kofu City, Yamanashi Prefecture, Japan

1993 Graduated Tohoku Fukushi University in Social Welfare,

worked for the Red Cross Hospital for 14 years

2007 Resigned his job to become a bamboo artist

2008 Moved to Sado Island and attended the SADO School

with bamboo art major

2009 Admitted to the 64th Niigata Prefectural Art Exhibition on his first attempt

Back Cover: HONMA HIDEAKI Sign of Wind – Waves, 2012, 20 x 35 x15 inches

Admitted to the 6th Sado City Art Exhibition for the first time

2010 Graduated from SADO School, and became a student of Honma Hideaki

Admitted to the 65th Niigata Prefectural Art Exhibition

2011 Winner of the Governor’s Prize at the 48th Modern

Craft Art Exhibition,Niigata

Winner of the Encouragement Prize at the 7th Sado City Art Exhibition

Winner of the Best Young Artist Prize at the15th National

Bamboo Art Competition

2012 Admitted to the 50th Japan Modern Craft Art Exhibition for the first time

Admitted to the 66th Niigata Prefectural Art Exhibition

Admitted to the 8th Sado City Art Exhibition

Winner of the Encouragement Prize at the 49th Modern

Craft Art Exhibition, Niigata

Winner of the Governor of Tochigi Prize at the16th National

Bamboo Art Competition

Exhibited at SOFA New York

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505.984.1387 • www.taigallery.com