Columbia Global Centers | Paris is pleased to present the opening of "Equivocal landscapes - The Color Annotation." This exhibition of works by artis Toru Hayashi is curated by Jean-Yves Coffre and runs through July 15, 2017.
Since he began “Equivocal Landscape” in 1998, Hayashi has produced one drawing daily in uniformly sized sketchbooks measuring 5.9 x 8.5-inches, using a 0.2-mm-pen of black micro pigment ink. The pages of the sketchbooks have no internal narrative connections to each other, but time runs through them chronologically. Each drawing is based on his memory of everyday life experiences. Hayashi is currently working on Sketchbook Vol.78 (As of May 2017). There are 72 drawings appearing only on the right pages in the sketchbook.
After over nineteen years "Equivocal Landscape" has become work of the matrix that is leading to other projects, such as “Bigfoot “ (2015), "Equivocal Letter” (2016), "Interior-landscape” (2016), and “Menu: The Color Annotation” (2017), which is to be on view at Reid Hall.
Beginning in Sketchbook Vol.35 in 2008 the artist put a color annotation in English or in the alphabetical notation as his mood of the day on the back leaf of the page of each drawing in order to express a color belonging to nothing. The new series “Menu: The Color Annotation” is about transforming the 72 color annotations of the sketchbook into "color clouds" by rewriting them on a single piece of paper. He places the words of the color annotation one after another by following the sequence of the pages in the sketchbook, from the first annotation to the last.
At Reid Hall, Hayashi has chosen 8 sketchbooks and made five versions on each sketchbook: Vol.40 (2009-2010), Vol.48 (2011), Vol.49 (2011), Vol.50 (2011-2012), Vol.53 (2012), Vol.74 (2016), Vol.75 (2016) and Vol.76 (2016-2017).
Toru Hayashi, who was born in Kobe, Japan, moved to New York in 1990 after studying Mathematics at Hokkaido University, Sapporo, and art at Setsu Mode Seminar in Tokyo. His work is about "landscape" associated with the memories that surround his everyday life. His studio practice is to transform the landscape into abstract drawings on paper with materials such as ink, acrylic, watercolor, oil pastels, photographic images, and collage. He has been participating in several artist residency programs, such as CAMAC, Marnay-sur-Seine, France (2004 and 2017), Spring Workshop, Hong Kong (2016), The Millay Colony, New York (2016), and Museum für Asiatische Kunst, Staatliche Museen zu Berlin, Germany (2009). His work has been exhibited at galleries and Museums including White Columns, Ise Foundation, Japan Society, The Bronx Museum (all New York) and The Confederation Centre Art Gallery (Prince Edward Island, Canada).