[h2]Park[/h2]
[image_left_caption caption=”PARK No.2 10.08.2000″ src=”https://art.hiroyukimasuyama.com/img/works/2000/2000_park-1Tagthu.jpg”]
[image_left_caption caption=”PARK 01.04.1999 -31.03.2000″ src=”https://art.hiroyukimasuyama.com/img/works/2000/2000.02.001_-PARK-1.2thu.jpg”]
[image_left_caption caption=”PARK 13.04.2001″ src=”https://art.hiroyukimasuyama.com/img/works/2001/2001.04.13-PARKthu.jpg”]
I often see walkers in the park. Most of the people go the same ways daily during the changing of the four seasons. These wanderings into spring, summer, autumn and winter leave memories and I asked myself how to express these memories in pictures…
For one year (01.04.1999-31.03.2000) I visited this park daily, and with my tripod and camera I took a photo at the same location every day. I turned the camera about one degree every day, so that it turned around its total axis within one year. Approximately 360 photos emerged, which I digitally pieced together into a panoramic landscape. This sequence of all the frames illustrated one temporally condensed view of the park during the changing of the seasons.
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[h2]Family portrait[/h2]
[image_left_caption caption=”Family Portrait” src=”https://art.hiroyukimasuyama.com/img/works/1999/1999_Familythu.jpg”]
When I think of my mother, I have the impression that she has no age, that she is only an atmosphere. How can I make this atmosphere that surrounds my family and my private environment visible?
I collected many portrait photographs of members of my family (my son, my wife, me, my mother and father). For each person, I put each of their portrait in a semi-transparent state on each other. The works became a time documentation of each person from approx. 300 portrait photographs, which coursed their life from birth up to the year of the creation of the series, in 1999.
For further works, I took panoramic photographs of my apartments in Japan (1968-1994) and Germany (1995-2001) and I collected photographs of my family in these rooms. I made the photos semi-transparent and super imposed them with exactitude into the architecture. The viewer can see in these constant rooms the changes of the people, my family, in the years from 1968 to 1994 and from 1995 to 2001.
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[h2]Flight[/h2]
[image_left_caption caption=”LONDON – BERLIN No.1″ src=”https://art.hiroyukimasuyama.com/img/works/2006/2006_London-Berlin_No.01Bt.jpg”]
[image_left_caption caption=”DÜSSELDORF – MILANO” src=”https://art.hiroyukimasuyama.com/img/works/2002/2002_Dusseldorf-Mailandthu.jpg”]
[image_left_caption caption=”LONDON – DÜSSELDORF” src=”https://art.hiroyukimasuyama.com/img/works/2003/2003-LONDON-DUSELDORFthu.jpg”]
[image_left_caption caption=”WELTREISE/
JOURNEY AROUND THE WORLD” src=”https://art.hiroyukimasuyama.com/img/works/2003/2003-Welt-Reisethu.jpg”]
I often fly between Germany and Japan. Up there in the sky, I am 10.000-12.000 m high and it is -40 ℃ cold. The airplane is flying with a speed of about 930km/h. The route from Germany to Japan is 11-12 hours. I think this experience is the farthest I have ever been from earth in my life. Out there I see a wonderfully beautiful landscape. How can I express this landscape of Germany to Japan in a picture? It is a documentation of time and space.
I travelled around the world with the following stops: Frankfurt – Bangkok – Tokyo – Honolulu – Los Angeles – New York – Frankfurt. During my flight around the world, every 20 seconds I took a photograph of the earth out of my seat window. Due to the cruising speed, the camera also “moved” every shot some kilometers farther. I took approximately 7.500 frames that I pieced digitally together on the computer to form a panoramic view of the earth and the total distance of the flight journey. Non-stop flight is simulated. I condensed a 42 hour world trip into a panoramic photograph of 27 m length.
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[h2]Mountain[/h2]
[image_left_caption caption=”ALPEN No.1″ src=”https://art.hiroyukimasuyama.com/img/works/2002/2002_Alpen-Nr1thu.jpg”]
[image_left_caption caption=”ALPEN No.2″ src=”https://art.hiroyukimasuyama.com/img/works/2002/2002_Alpen_No.2thu.jpg”]
[image_left_caption caption=”MONT BLANC No.2″ src=”https://art.hiroyukimasuyama.com/img/works/2006/2006_MontBlanc_No.2thu.jpg”]
[image_left_caption caption=”MCKINLEY” src=”https://art.hiroyukimasuyama.com/img/works/2004/2004_Mckinleythu.jpg”]
After the series “Family portrait”, I began to take landscape photographs of nature and the question was put to me, how can I make the atmosphere of a mountain visible?
From a helicopter or a small plane, I took about 300-400 photos of the “Virgin”, the “Matterhorn” and “Mont Blanc” in the Alps to create my own imaginary mountain.
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[h2]Flowers[/h2]
[image_left_caption caption=”FLOWERS No.1″ src=”https://art.hiroyukimasuyama.com/img/works/2004/2004_Flowers_No.1thu.jpg”]
[image_left_caption caption=”FLOWERS No.2″ src=”https://art.hiroyukimasuyama.com/img/works/2004/2004_Flowers_No.2thu.jpg”]
[image_left_caption caption=”FLOWERS No.3″ src=”https://art.hiroyukimasuyama.com/img/works/2004/2004_Flowers_No.3thu.jpg”]
[image_left_caption caption=”FLOWERS No.4″ src=”https://art.hiroyukimasuyama.com/img/works/2004/2004_Flowers_No.4thu.jpg”]
I have dreamed of a floral landscape without the limits of time and space. It was my ideal landscape, one could not say exactly “where” and “when” it was. With the visualisation of this dream, I wanted to transfer my world from the microcosm to the macrocosm.
For 13 years, from 2003 to 2016, I photographed flowers in my surroundings over the course of the seasons. As a result, about 6,000 photographs merged like that of my imagination of a meadow in spring, summer, autumn and winter. It stands at 2.6 metres in height and 35 metres in length.
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[h2]Sakura and Magnoria[/h2]
[image_left_caption caption=”SAKURA No.1″ src=”https://art.hiroyukimasuyama.com/img/works/2006/2006_SAKURA_No.01thu.jpg”]
[image_left_caption caption=”SAKURA No.2″ src=”https://art.hiroyukimasuyama.com/img/works/2006/2006_SAKURA_No.02thu.jpg”]
[image_left_caption caption=”SAKURA No.3″ src=”https://art.hiroyukimasuyama.com/img/works/2006/2006_SAKURA_No.03thu.jpg”]
“Sakura” in Japanese means “cherry blossom”. The cherry blossom is a very important subject for the Japanese culture and it is my favourite flower. These works express my longing for Japan.
From January to May daily, I photographed cherry and magnolia trees in my place of residence, Düsseldorf. My documentation encompasses the time from the cherry flower’s first bud to the last falling petal.
I put together hundreds of photographs into one image to show the temporal compression.
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[h2]Caspar David Friedrich[/h2]
[image_left_caption caption=”Das Eismeer 1823/34″ src=”https://art.hiroyukimasuyama.com/img/works/2007/CASPAR DAVID FRIEDRICH/2007_DasEismeerthu.jpg”]
[image_left_caption caption=”Der Watzmann 1824″ src=”https://art.hiroyukimasuyama.com/img/works/2007/CASPAR DAVID FRIEDRICH/2007_DerWatzmannthu.jpg”]
[image_left_caption caption=”Dorflandschaft bei
Morgenbeleuchtung 1822″ src=”https://art.hiroyukimasuyama.com/img/works/2007/CASPAR DAVID FRIEDRICH/2007_Dorflandschftthu.jpg”]
My aim as an artist is “to gain experience of oneself”. We gain knowledge of the complexional appearance with the help of a mirror or a camera. The soul, the spirit, and the inside cannot be experienced by this method. To see it, one needs another person. They reflect our own inside. I think I see my inner self the clearest when the person that is reflecting me is either very close, like my parents or children, or very far. For 20 years, I have lived in Germany as a foreigner. And I have chosen Caspar David Friedrich as the other person who reflects my inner self.
Casper David Friedrich (1774/1840) is a known German painter. Today he is considered the most eminent visual artist of German Romanticism. Many of his landscapes consist of different drawings that he composed in his studio to pictures of his ideal landscape. Now, around 190 years after his time, I have visited these places that he had drawn before and utilized in his paintings. I took photos here during the same season with the same weather like Friedrich had been in, in the 19th century. I compounded approximately 300-500 photographs of each place together on my computer as he composed the paintings in his studio with the drawings of the landscapes. Also, the size of my works correspond with the mass of their romantic models. My photography works and Friedrich’s oil paintings seem almost the same. The differences are found in the time of origin (approximately a 190 years gap), the technology (painting and photograph), and the artist (Caspar David Friedrich and Hiroyuki Masuyama).
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[h2]Joseph Mallord William Turner[/h2]
[image_left_caption caption=”J.M.W.TURNER, Storm at Sunset, 1840″ src=”https://art.hiroyukimasuyama.com/img/works/2010/turner_from_london_to_venice/storm_at_sunset_1840_t.jpg”]
[image_left_caption caption=”The Burning of the Houses of Parliament, 1834″ src=”https://art.hiroyukimasuyama.com/img/works/2008/ColourBebinning/2008-The-Burning-of-the-Houses-of-Parliament-1834_th.jpg”]
[image_left_caption caption=”Ancient Rome, Agrippina Landing with the Ashes of Germanicus, 1839″ src=”https://art.hiroyukimasuyama.com/img/works/2008/2008-Turner-Ancient-Rome_th.jpg”]
After Caspar David Friedrich, I became busy with another representative of Romanticism, the English painter Joseph Mallord William Turner (1775/1851). He was a travelling painter, traveling between England and Italy several times, from 1802 and 1844. I traced his trip from London to Venice, I followed his path and visited the locations that he had chosen for his studies. At these locations I took photographs. When I am at one of his former locations, I find myself feeling like I am Turner. It is akin to time travel. When I was repeating his trips, I used our modern day technology, for example a car with a navigation system, Google maps or an aeroplane. The journey was not the same as it had been in Turner’s time, but the feeling of a determined place remained unchanged. After returning to my studio, I pieced together the photographs of the current day landscapes. I did this in a way that the aesthetics and the sentiment of Turner’s watercolours and oil paintings could reappear through modern resources.
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[h2]Still life[/h2]
[image_left_caption caption=”Still life No 01″ src=”https://art.hiroyukimasuyama.com/img/works/2011/2011_Still_life_No01_t.jpg”]
[image_left_caption caption=”Still life,
Daniel Seghers No.01″ src=”https://art.hiroyukimasuyama.com/img/works/2012/2012_Stilllife_DS_No01_t.jpg”]
[image_left_caption caption=”Still life,
Herman Henstenburgh No.01″ src=”https://art.hiroyukimasuyama.com/img/works/2013/Stilllife_Herman_Henstenburgh_No01_t.jpg”]
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[h2]0[/h2]
[image_left_caption caption=”0″ href=”https://art.hiroyukimasuyama.com/img/works/2010/0/0-01.jpg” rel=”gallery0″ src=”https://art.hiroyukimasuyama.com/img/works/2010/0/0-01_t.jpg”]
[image_left_caption caption=”0″ href=”https://art.hiroyukimasuyama.com/” src=”https://art.hiroyukimasuyama.com/img/works/2010/0/0-02_t.jpg”]
[image_left_caption caption=”0 – inside view” src=”https://art.hiroyukimasuyama.com/img/works/2010/0/0-03_t.jpg”]
[image_left_caption caption=”0″ src=”https://art.hiroyukimasuyama.com/img/works/2010/0/0-04_t.jpg”]
When I look in the distance, that means I am looking at the past. Sunlight needs, for example, 8 minutes and 17-19 seconds to reach the earth. When I perceive sunlight, I am at the same time seeing the past of 8 minutes and 17-19 seconds ago. The earth’s next situated fixed star is “Proxima Centauri”, situated 4.2 light years from earth and 4 years and 3 months away in the past. The widest removed fixed star is „ GRB 080319B „, its light travels 10.360 million light years through time. When I look in the night sky, I see different pasts. I often consider what does “now” or “here” mean? Am I myself here and now? Or does my existence lie between a point 0 and infinity? Through me I would like to connect the microcosm with the macrocosm.
I built a spherical shape of 260cms in diameter from around 4200 small pieces of wood. In the sphere is a round entrance by which one can get inside the ball. When the door is closed, one can see the whole night sky from the North Pole to the South Pole: The ball is riddled with 30.000 holes of which, with the help of an interstellar map, I positioned in their accurate stellar positions. Through the holes come 30.000 optical fibres with different diameters (0.2mm to 2mm) which brought light from outside to inside the ball, consequently the different stars shine in different intensities. A distinct echo completes the impression. It is an extraordinary experience.
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