Hiroshi
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INCIDENT No.66: Hiroshi Mori
 
 


[IMAGE]

At every step, I develop my vocabularies and syntax of material, chemistry, and force. I trust my instinct and desire and question my rationality. I enjoy the hallucinations of beauty and truth as equal to repulsion and lies. Eloquence is not the accuracy of a sign, but the vigorous displacement of sensations between signs, between the familiar and unfamiliar.

[IMAGE]

The process of salt printing prepares a base saturated with chloride to react with silver and ultraviolet light. The purity of water, temperature, pH, concentration of UV light and weather all affect variation in the salt print. Every city and every moment determines the print.  I train to sense these variables, but the chemical mythologies depend more on geography and time. My language of vision becomes secondary to the language of chemistry. The defiance of nature transforms my vision; chemistry is its syntax. Stone is the library.

[IMAGE]

To frame the world creates perspective. Perspective creates subjectivity. The frame gives birth to subjectivity. The frame of the photograph or painting is familiar, but what is the frame of sculpture? The frame of sculpture is skin. 

[IMAGE]

I observe ancient crafts as equal to current trends of manufacture. I consider Orientalism, coined by Edward Said, to describe the hubris of one cultural perspective over another. I also consider the concept of Japanese iitoko-dori (いいとこ取り) where contradiction was necessary to sustain the incompatibility and inherent contradiction between Buddhism and Shintoism. Aesthetic ambivalence allowed contradictions to coexist.

[IMAGE]

Through experimentation and improvisation I maximize my vocabularies and syntax of material, chemistry, and force. With ambivalence and contradiction I aestheticize androgyny for a sustained and sustainable perception of change. Humans always find an excuse to quarantine one another, be it race, disease, ideology, economy, or disability. I seek an aesthetic that rewards ambivalence and transformation. Things remain and things disappear. My goal is for a non-violent iconoclasm. 

[IMAGE]

I cease to ask “why?” when I expand and don’t limit.

[IMAGE]

Voguing dancers at a Harlem Ballroom understand the power of frames.  They are lexicons of published [IMAGE] to assert, insert, and transgress frames that exclude.

[IMAGE]

Who is [IMAGE]? Where is [IMAGE]? What is [IMAGE]?

{with fabulous hand gestures, please}

  

[one cinder block, two salt printed Carrara marble chunks, two salt printed Indiana limestone structures with feathers and wedges, two powder coated steel prisms]


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