JUXTAPOZ Magazine – preview: Kenichi Hoshine “and there is a storm below Cutthroat”
Although Kenichi HashinTechnical works (broke out from JUXTAPOZ and we are now working on it Nino MirIt raises a feeling of strange characters, and mixing barely recognized or parts of the body in abstract forms in direct arrangements that require attention, and they immediately wash the viewer with a feeling of calm nostalgia. This effect is due to a small portion of its color palette: a mixture of old, red, and blouse bile. These warm and visual views provide visual anchor and invite them to indulge in his mysterious works. It is very similar to the use of color in the traditional UKYO-E Woodblock prints.
Hoshin’s distinctive use of colors is deeply rooted in nostalgia for childhood. Although he only lived in Japan until he was three years old, the manga and anime were essential in his visual education. After moving to the United States at the age of three, this basis expanded to include the vibrant worlds of American cartoons and cartoons – Marvel, DC, and Disney – which formed more than aesthetic sensitivity. Together, these cultural effects formed a hybrid memory of color and signs that continue to echo throughout its work. When he was a child, Hoshin dreamed of becoming a comic writer, but over time, he gradually moved away from direct design, and instead chose to propose forms that can be recognized through abstract gestures and tone differences.
The warmth of his board, associated with forms that remind us of the pieces and the liquids that were seen in the work of Walt Disney, Tex Affiri and Max Fleisher, brings a sudden purity to the Hoshin Surrealism-in the visual complexity center. Despite the intensity of the images, his paintings never feel confused. Hoshin admits that his books have become increasingly complicated and complex over time, although he does not attribute this shift to any specific reason. Each plate is treated as an independent piece – created, completed, and rarely reviewed. For the viewer, this exhibition presents a journey during the past months, and even years, from Hoshin’s artistic development. Any contradictions between works in There is a storm under the broken moon It is, for him, part of natural progress.
Hoshin works by instinct. Although it rarely returns to complete pieces, the road to completing the work involves great reformulation, editing and conversion. It avoids graphics, unfortunately, or pre -defined plans. Instead, his operation is driven by spontaneity and intuition – which highlights what he calls “happy accidents”. As he puts it, “The best clips in my paintings, I couldn’t re -create them in the same way even if I tried.“
The latest business in There is a storm under the broken moon Show an artist increasingly driving his practice. Deep and black blues in pieces such as Sunder in moonlight and Vibrolux It emanates from surprising interior light, almost photographic in the glow. According to Hoshin, these paintings are now. They are amazing and amazing books inviting the viewer to devise their own meanings of endless narrative capabilities. The result is to take minced, imposed, colored and surreal stories on the novel dynamic stories with optical charging.
