Tetsuo HARADA at galLery Martel Greiner Paris France
Tetsuo Harada
2007-12-25
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Tetsuo Harada personnal exhibition at Galery Martel Greiner, 71 bd Raspail 75006 Paris - from february 28th to march 29th 2008.20 sculptures in wood marble granite iron bronze. http://www.tetsuoharada.com
Tetsuo Harada is a sculptor painter and teacher at "Ecole d'architecture of Versailles. studies at Tamabi university and Ecole des Beaux arts in Paris.
HARADA, environment-art : an art of union and relation.
To try and grasp architecture or sculpture simply through shapes would not lead to a clear understanding of the meaning and the sensation they convey : it would amount to forget, on the one hand, that the empty space has a meaning and on the other hand, that the meaning not only lies in space as such, but also in its occupancy, in the relations that emanate from it.
Shape, space, relation : an environment.
Though it speaks to the senses, and sometimes to sensuality in its most carnal dimension, it is above all the primal meaning that Harada's work pursues, a meaning that finds its source in the imaginary of creation, in a literal meaning : union, fold, interweaving, mating, birth. A creation appearing on the edges, the lips, in the intervening space.
UNION The work of Harada is about shapes but mainly connections, relations. A whole art of relation that disarms the apparent dialectic of his production between simplicity and complexity. The creative act turns over itself like a glove, and questions about its birth, pointing at the immanence and the fundamental tautology of creation.
Harada declines this theme at various levels :
-the union between artwork and nature or city,
-the union between artwork and the beings,
-the friendship of people, from the fusion of feelings to the fusion of cultures.
A long list of countries attest to this cosmopolitism : Japan, France, but also Italy, Spain, Germany, Denmark, Holland, Israel, the United States, India... but also, among hundreds, regions and landscapes : Toscany, Brittany, the Ardennes, the Beauce... or cities : Saint-Malo, Paris, Pietrasanta, Niitsu, Tokyo, Leiden...
INTERBREEDING From this human and geographical development, from his own family, beautifuly mix-raced, from his itinerary made of teaching and sharing, Harada builds up the arguments of an initiatory route :
-a life and a work of art like a metaphor in progress, convening in curious alchemy the union of art and the forms of union,
-a path of sympathy with the world and the things as well as the beings, that probably is ' environment-art '. Though this path indeniably and essentially belongs to sculpture, it carries along close ties with landscape art, architecture and urbanism.
One of Harada's adventure is particularly representaive of this aspect of his work : the cycle of the 'earth weaving', a huge and protean sculpture supposed to traverse the globe and spring up from the earth bringing a message of peace; its most spectacular emergence is the Tazawako dam in Japan.
Tetsuo Harada is a sculptor painter and teacher at "Ecole d'architecture of Versailles. studies at Tamabi university and Ecole des Beaux arts in Paris.
HARADA, environment-art : an art of union and relation.
To try and grasp architecture or sculpture simply through shapes would not lead to a clear understanding of the meaning and the sensation they convey : it would amount to forget, on the one hand, that the empty space has a meaning and on the other hand, that the meaning not only lies in space as such, but also in its occupancy, in the relations that emanate from it.
Shape, space, relation : an environment.
Though it speaks to the senses, and sometimes to sensuality in its most carnal dimension, it is above all the primal meaning that Harada's work pursues, a meaning that finds its source in the imaginary of creation, in a literal meaning : union, fold, interweaving, mating, birth. A creation appearing on the edges, the lips, in the intervening space.
UNION The work of Harada is about shapes but mainly connections, relations. A whole art of relation that disarms the apparent dialectic of his production between simplicity and complexity. The creative act turns over itself like a glove, and questions about its birth, pointing at the immanence and the fundamental tautology of creation.
Harada declines this theme at various levels :
-the union between artwork and nature or city,
-the union between artwork and the beings,
-the friendship of people, from the fusion of feelings to the fusion of cultures.
A long list of countries attest to this cosmopolitism : Japan, France, but also Italy, Spain, Germany, Denmark, Holland, Israel, the United States, India... but also, among hundreds, regions and landscapes : Toscany, Brittany, the Ardennes, the Beauce... or cities : Saint-Malo, Paris, Pietrasanta, Niitsu, Tokyo, Leiden...
INTERBREEDING From this human and geographical development, from his own family, beautifuly mix-raced, from his itinerary made of teaching and sharing, Harada builds up the arguments of an initiatory route :
-a life and a work of art like a metaphor in progress, convening in curious alchemy the union of art and the forms of union,
-a path of sympathy with the world and the things as well as the beings, that probably is ' environment-art '. Though this path indeniably and essentially belongs to sculpture, it carries along close ties with landscape art, architecture and urbanism.
One of Harada's adventure is particularly representaive of this aspect of his work : the cycle of the 'earth weaving', a huge and protean sculpture supposed to traverse the globe and spring up from the earth bringing a message of peace; its most spectacular emergence is the Tazawako dam in Japan.
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