Yuichi Hirako contemplates the symbiosis of human and nature, often questioning the determinism of "nature" by infusing a anthropocentric definition of plant and animal.

Result #1

He takes on the problem of naturalization, a problem that is always present in the Japanese landscape. The work of an anonymous artist who lives in a Tokyo apartment has been painted over with the words of the anonymous author, and with the message that the world is too big to be taken in by the single-minded gaze of the individual. Hirako is an artist who feels the tension between the distance of the individual and the distance of nature. He makes us aware of the distance between us and nature, and between the individual and the world. The artist takes on the role of a mediator between the individual and nature. He transmutes the individual into a part of nature, a natural entity, and thus transforms the individual into an active part of nature. Hirako takes on the problem of nature as one of the problems of human existence. The problem of human existence, then, is how to live in the world, how to distinguish between the individual and nature. Hirako does not set out to explore the problem of nature as an individual, but rather to examine it as part of nature. He investigates the problem of nature as an individual. Hirakos investigations, then, are not really explorations, but investigations, and they become explorations of the individual.In the end, Hirako uses his own Japanese sensibility to investigate the problem of nature as an individual.

Result #2

Yuichi Hirako contemplates the symbiosis of human and nature, often questioning the determinism of "nature" by infusing a anthropocentric definition of plant and animal. His installations of sculptures, installations, and photographs take as their theme the relationship between man and nature, which they trace from the natural world to the human body. His is a post-Renaissance humanism, which is in fact a far-from-pure form of modernism.In the first room of the gallery, the viewer encountered a series of wall-mounted sculptures. These, like the two white-lacquered sculptures in the main room, are of a certain delicate delicacy. The latter, made of paper, and covered with a layer of wax, are made of various materials, including straw, sand, and paper. They are constructed according to a modular system that is not yet recognizable. In the middle of the room, a small group of sculptures, some of them placed on the floor, had been placed on top of a pedestal. The small stones are made of straw, which is the same material used in the straw-paper sculptures, and are arranged in a way that recalls the ancient Greeks. They are placed on top of a pedestal and then covered with wax, which is an especially earthy material. The wax is a residue of the wax process, and is also used to cover the paper. This is the same material used in the paper sculptures, but the wax is white, and the white is the pigment of the artist, who is also white.The objects in this room are called The Three Kneeling Figures, and they are not real, but rather are made of paper. The paper is applied to the paper, which is then covered with wax. The wax is a residue of the wax process, and is also used to cover the paper. The paper is paper, and the wax is white, but the paper is wax, and the wax is white. The wax is a residue of the wax process, and is also used to cover the paper. The paper is paper, and the paper is white.

Result #3

Yuichi Hirako contemplates the symbiosis of human and nature, often questioning the determinism of "nature" by infusing a anthropocentric definition of plant and animal. In this show, the artist applies his knowledge of the human body to the examination of the relations between human and natural phenomena. The body, he says, is a representation of the same, and the representations of the same. He creates a new image, a representation of the same, a representation of the same. Thus, Hirako creates a new image by infusing his own body with a sense of the other. The body becomes a representation of the other.The artist has been called a hybrid artist. This hybridity is a characteristic characteristic of his approach to art, which combines the analytical and the intuitive. The latter approach is evidenced by his sculptural works, which are made of bronze, wood, and metal. In this show, Hirako transformed his bronze sculptures into paintings. The bronze is melted, and the image is then cast in bronze. In Hiragos sculptures, the body is transformed into a model for painting. The body becomes a model for painting.The title of the show, in fact, alludes to Hiragos previous works, which were also painted. The title also refers to Hiragos concerns with the duality of human and natural. This duality is manifested in his works that are often divided into two parts, such as the Self-Portrait, 1987, and Self-Portrait, 1987–88, which were also on display. In Self-Portrait, the artist looks into the viewer, and his face is reflected in the mirror. The mirror is a reference to Hiragos self-portrait. In Self-Portrait, the subject is seen as a mirror image of the artist. The mirror image is a reflection of the artist, who is reflected in himself. The self-portrait thus becomes a self-portrait by means of the image of the artist. The artist becomes a reflection of himself, a reflection of his own self-portrait.

Result #4

Yuichi Hirako contemplates the symbiosis of human and nature, often questioning the determinism of "nature" by infusing a anthropocentric definition of plant and animal. His recent exhibition, which also included his signature works from his ongoing series of the same name, made a case for Hirokos more poetic approach. The exhibition consisted of three sculptures, three wall reliefs, and a small painting of Hirokos drawings, which were accompanied by two photographs of him as a child and a series of newspaper clippings from the 1980s. The three sculptures in the center of the gallery were both crude, crude, and crudely rendered; they were all titled Untitled and dated 2006, and they were all crudely rendered. The two wall reliefs, which were placed on the floor, were crudely rendered, too. They were painted with thin strips of dark-blue paint, and they looked like unfinished paper, with the exception of one segment of the painting, which is elaborately decorated with a grid of white paper. The paintings, on the other hand, were elaborately painted, with layers of gold leaf and red pigment. The works on paper were also elaborately painted, but in the case of the sculptures, they were crudely rendered.In the small painting, one of the two figures is bent over a large, rectangular form, and the other is bent over a smaller figure. Both figures are close to the edges, and the painting is placed between the two. The figure in the painting is a little out of proportion to the sculptural structure. The painting is very large, and the figures are placed in the foreground, almost out of proportion to the painting. The painting is the same size as the sculptures. In the small painting, the figure is in the foreground, but the painting is a little out of proportion to the sculpture. The figures are arranged in a way that recalls the symmetry of the sculptures, and they are placed in a way that recalls the symmetry of the paintings. The paintings, on the other hand, are placed in a way that recalls the symmetry of the sculptures.

Result #5

Yuichi Hirako contemplates the symbiosis of human and nature, often questioning the determinism of "nature" by infusing a anthropocentric definition of plant and animal. His project, entitled Grass, Grass, Grass, 2007, is a mise-en-scène of two- and three-dimensional objects that serve as symbols of the world of living beings, or, as Hirako puts it, of the earth. The works in this show were made from wood, but they also reflected the artists experiences in Japan, where he has lived and worked for a long time. The majority of the sculptures, which were created on-site, were made using materials such as sand, gravel, gravel, cement, concrete, and clay. The most ambitious piece, Untitled (insect), 2006, was constructed from the lower part of a bamboo pole. It consists of two sections, one of which was placed on the floor, the other on the wall. The upper section is made of sand, the sand is broken and crushed by the pressure of the earth. The piece is a continuation of Hirokas earlier sculptures, which have often dealt with the relationship between material and immaterial matter. In the series Untitled (dirt), 2005, for example, he exposed the earth to the elements, then put it in a clay jar and dumped the refuse into a hole.In the center of the gallery, Hirokas newest work, a large, black, and white landscape painting titled Mushroom Field, 2007, was installed. The landscape is composed of a black, geometric pattern of diagonal lines, the top and bottom sections of which form a circle and a circle, respectively. The left section of the painting is made of sand and gravel, and the right section is made of soil and dirt. The forms that make up this abstract landscape are based on the same geometric pattern as the black line in the foreground.