• FUJIMOTO Hitoshisadanari

    CAREER1951
    Born in Wakayama, JAPAN
    1957
    Studied at TAKAMATSU Jiro Jyuku

    PERSONAL EXHIBITIONS:
    2005
    Gallery Yujitsu, Utsunomiya
    Gallery Kan, Tokyo (’04)
    2003
    Gallery Hinoki, Tokyo (1992)
    1998
    Tokiwa Gallery, Tokyo (’97/ ’94/ ’92)
    1990
    Tamura Gallery, Tokyo (’79/ ’78/ ’77)
    1988
    Shibuya Seibu Gallery, Tokyo (’86)

    SELECTED GROUP EXHIBITIONS:
    2002
    AMABIKI VILLAGE AND SCULPTURE, Sakuragawa Ibaraki (’01/ ’99/ ’79)
    2001
    9 CERAMISTS EXHI.. Gallery Todoran, Seoul KOREA
    1996
    DIALOGOS. Contemporary Art Gallery, Art Tower Mito, Ibaraki
    VERTICECAFE. Odesa UKRAINE
    1994
    La Parfum. Gallery KOUKI, Paris, FRANCE
    Curved Space. KUNSTHAUS Nuremberg, GERMANY
    1991
    New Plastic Art in Kasama. Kasama Nichido Museum of Art, Ibaraki
    1990
    Creation and Crops. Tokyo Metropolitan Art Museum, Tokyo
    1989
    Pre-Existence. Setagaya Art Museum, Tokyo
    1987
    2177 SPIRITUAL (km) Exhibition. Taipei Fine Art Museum, TAIWAN
    1985
    Tsukuba International Environmental Arts Symposium ’85. Ibaraki
    1983
    Kyoto Independent Exhibition. Kyoto Municipal Museum of Art, Kyoto (’77/ ’75)
    No Gravitation. The Miyagi Museum of Art, Miyagi
    1982
    The 8th Contemporary Sculpture Exhibition. Suma Detached Palace Garden, Hyogo

  • Ama Cyo To Sato Biki No Koku

    Plaster, Wood, Cement, Stone, Tinplate, Iron

    1000×1000×180 cm (8P)
    900 kg (8P)

    If I take a really good look at the society I am involved with, particularly artistic society, I find many things that are interesting. I’m going to think about the title. Its fun to think that if the “characters” of the title are the work, or if the “thing” that was the work becomes the title, the distinction between them will disappear.

  • Let’s look at photos of moss and mushroom taken by IZAWA Masana, Photographer of Nature.

    Aluminum, Stone, Lens, The positive film taken by IZAWA Masana

    30×30×30-90 cm (×17P)

    Since last year I have built a device to show IZAWA Masana’s photographs of molds, mushrooms and mosses in an enjoyable way, and I have presented it at elementary schools, mycology seminars, art exhibitions, museums and elsewhere. Now I look forward to showing the people of Amabiki, and the visitors to the Second Amabiki Village and Sculpture, the photographs of moss and mushrooms that IZAWA took in the course of six months of fieldwork.

  • EXHUBITION OF AMABUKI VILLAGE AND SCULPTURE visitor’s rest area provided by　FUJIMOTO REST AREA ORGANIZATION

    White Fifty chairs, Woods, White lacquer

    Chair 43×40×73 cm (×50P)
    Chair 5.5 kg

    I make things, I show them to people, and that opens up communication.
    I enjoy those things as I carry on with “creation”.
    Even if I am not aware of the distinction, that “creation” may be divided between “art” and “non-art”. Thinking about from an economic perspective, things that seem to be only natural seem to become necessities, and in other areas there are still things I can’t understand.
    In this Amabiki Village and Sculpture exhibition, I took that as my theme, and I believe I was able to express the area around that boundary between what is art and what is not.

  • Objectively admire

    Plywood. Aluminum board. Telescope×2

    I think the simple act of “looking” is undergoing great change, which we do not notice.
    Now that things are becoming more virtual, blurring the boundaries between reality and unreality, I think the perception of something as real because its image has appeared on one’s retina, and of the thing before one’s eyes as something “seen”, is becoming increasingly complex.
    I want the things I examine to become part of the expression of that kind of “seeing”.