April 23rd (Tue) – May 19th (Sun), 2024
Opening hours: 11:00-19:00 (last entry 18:45), Tue, Wed, Thurs, Fri, Sat, Sun
*Open during April 29th and May 6th public holidays (closed instead on April 30th and May 7th)
＜Exhibition Outline＞
For its opening program, CREATIVE HUB UENO “es” is pleased to present Haruka Yoshino’s first solo exhibition, “Sensitive Debris”, from April 23rd (Tue) to May 19th (Sun). Haruka Yoshino creates narrative installations by poetically combining different materials and media based on her experiences with the history, mythology, and folklore of the countries and regions she visited during her travels. “Debris” is the French word for rubble. This exhibition will feature five works, including recent works made of glass and a photographic work that the artist will update during the exhibition period.
＜Artist’s Statement＞
Debris is buried with time and contains events and memories.
Our lives are situated on a massive pile of debris.
“Sensitive Debris” is a body of work that focuses on the emotional side of life.
Nervous, shifting, and vulnerable things are represented, and embraced as they are contacted.
Debris searches for a vessel to fit in, but no final destination exists.
I imagine it continuing its journey to wherever it is going, trying to depict a state where emotions are accompanied by something unstable that will easily be broken.
＜Artist＞
Haruka Yoshino
2022 Doctor’s Program in Fine Arts Course, Graduate School of Fine Arts, Tokyo University of the Arts
Website: https://harukayosino.wixsite.com/hlky
＜Exhibitions＞
2016
Seaside Poolside (Inage Seaside Park Pool, Chiba)
2017
ART IN TRAIL (Songkhla, Thailand)
2019
Textile Wind (Iruma City Museum, Saitama)
2020
Trip in ‘oumuamua (Tokyo University of the Arts, Tokyo)
2022
warada (Ginga 101, Tokyo)
2023
Les coordonnées : points organiques (Maison du Liban – Cité Internationale Universitaire de Paris, France)
Drawing Exhibition (Lucky Curry, Tokyo)
＜Past works＞
“goodluck debris”, 2021, mixed media
“goodluck debris” is a work that sends a positive message to frisbees and objects they encounter as they continue their journey around the universe, likening their travels to space debris. The installation consists of objects with seemingly no continuity, such as video footage of snowflakes floating in the air in Greenland, various drawings made during the artist’s travels, and glass sculptures. New narratives are drawn from the reconstruction of records of places the artist visited, people she met, and landscapes.
“etude for debris #1,2,3”, 2021, video (10min), photographic film, glass, stone, painting, light
A reworking of a glass branch of marl and light, one of a collection and arrangement of works related to the artist’s debris pieces, based on the text “Debris and Existential Signals”.
“Maar and Shine”, 2020, mixed media
Inspired by the sight of trees left dead by volcanic gases on Miyakejima Island, the artist creates transparent glass branches. The branches face the light and let it pass through toward the shadows.
The photo shows the moment of entering the crater called Maar, which was created by volcanic activity.
“trip in o’umuamua”, 2018, mixed media
The artist silkscreened images of events that occurred in Hawaii onto fabric and then created a part of the location’s volcanic mountains, an aloha shirt, and a towel as part of an island and seaside installation (wedding). “O’umuamua” means “first messenger” in Hawaiian and is the name of a meteorite observed in Hawaii. These are records of short trips that intersected for a moment.
