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Hoshina’s nostalgia expressed in artworks

Update : 20 Aug 2013, 04:37 PM

A solo art exhibition “Here is there-There is here” by Japanese artist Toyomi Hoshina is on at the Bengal Gallery of Fine Arts. Hoshina’s 66 artworks are on display till August 25. The exhibition was inaugurated on August 17 by Professor Anisuzzaman and eminent artist Qayyum Chowdhury as chief guest. The ambassador of Japan in Bangladesh, Hiroko Minami was present as special guest.

In the exhibited pieces, the gifted painter expressed his memories of childhood his intimacy with the nature and the landscape of his hometown Nagano.

Hoshina’s paintings are of the beauty of river valley, stones, trees, forest and fire, these elements mesmerise him and he tries to depict philosophical dimensions in his abstract pieces.

The series of portraits in “The Face of Memory” shows some illustrative faces of people he met in his childhood and of people with whom he desires to meet again.

A very appealing art piece of Hoshina shows flames and fumes amidst mountains. Through the composition, the nostalgic artist presents a true event where he and his father accidentally light a big fire. “I watched the fire from afar and drew no closer. That fire was extremely beautiful,” he says.

He has worked with Chinese ink on paper, sand glue, bits of papers, gauche, acrylic and wood. About using wood and Japanese paper, Hoshina explains: “Using wood as a canvas is unique to Japan, a sense of formative arts unique to Japanese people.”

The artist tend to be focused on “space,” as he mentions: “My work originated through my body, which acts as a medium, giving life to my art.”

The Japanese artist’s artworks interpret his self depicted timeless memories. Also the ethnic characteristic features and portraits are well expressed in an illustrated manner.

Born in an Island of Honshu, Japan, Hoshina completed his doctoral programme in painting from Tokyo University of the Arts in 1984. His work with the same title but different structure was displayed in China in 1998.  

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