Exhibition Space 5 # 5 In Daily Life in the 1990s

Exhibition Space 5 # In Daily Life in the 1990s

Daily life is an important motif for Hanada. In 1990s, Hanada started to draw a lot of paintings in which planes of colors with a sense of vitality were connected to daily scenery.

The first painting displayed at the entrance, Parilu Megu (1978) depicted his wife holding a black cat “Paris” raised by him at that time.On the left, Chiko (1991) and Akiko (1997) are the works depicting his daughters, from which we can feel his affectionate eyes for his family.

Opened Window B (1993) is un excellent work whose fields of vivid colors play a visual rhythm. The screen is divided into two parts horizontally and eight parts vertically, so there are sixteen squares in total. Based on these squares, he painted them in different colors, for example, two squares from the right on the upper are painted in red, next two in gray, next three in blue and the remaining square in white. Hanada tried to express an image of “Window” found in a daily life according to the rule of horizontal and vertical. Rainy day, Sunny day, and the roof of the house across the street. To see what will be found from this work associated with various things it is up to viewers. Technically, this work left color unevenness in gray on purpose, which adds variations on monochrome planes of colors seen on the works in 1980s (Exhibition Space 4).

In the second half of the 1990s, Hanada painted the series of “Sea and Rocks” One of the series, Sea and Rocks (1999), has two polygons, apparently rocks, sitting side by side in the color of indigo which looks like sea. These polygons should be inorganic things, however, they look as if they were lively chatting each other. In this series, detailed sketches by Hanada are left, in which the process of getting abstracted from realistic to simple style is drawn. The way of painting which reconstitutes motifs from sketches on a screen returns to the basics of painting. While in university, Hanada learned oil painting under Ryohei Koiso (1903-1988)*, however, Hanada’s direction of expression was different from that of Koiso in the end.
But he seems to have been proud of the technique and the tradition of “Oil Painting”. Hanada might have returned to the basic and looked back on his paintings at that time.

*Ryohei Koiso (1930-1988)
One of the representative Western style painters in Japan. Painted many realistic and elegant women and known as painting style which introduced modern sense in the traditional Western style painting.

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