Notes
Hisashi Tenmyouya frugally exploits the power of parody and commemoration and processes it into his own artistic language as a statement to his awareness of globalization as an inevitable living condition. He impersonates the technical procedure and reconstructs the historical conventions with pop-cultural attributes to overall summon a phenomenal world that magnetize all viewers in universal attention, also alternatively yet inconspicuously reintegrating society back to the charisma of traditionalism.
By means of fusing the boundaries between graphic design, fashion, animation, and illustration in his artistic practice, Tenmyouya attempts to examine the interactive and changing relationship between representation and reality of culture and identity. Adopting global elements for universal appreciation, he still saturates his oeuvres with heavy impetus of 'yamato-damashii', Japanese spirit/soul, the quintessence of Japanese culture, embedded subconsciously in the Japanese people.
Reiterating the vertical scrolls, Kakemono of the Edo-period, Tenmyouya brought East-West cross-fertilization onto Flying Trapeze (Lot 830). Evoking an association with natural scenes, he devises a paranormal ambiance of a rooster, sitting high upon the clouds with a burning acrobat performing a flying trapeze. Immensely imbued with symbolism, the painting inhabits in an uncanny underworld shaped with burning contrast of electrified pink and crisp white, hostile to the black milieu. Perhaps to further its sacredness, Tenmyouya decisively injected illumination through direct contrast of hue and contour to craft a surreal metaphor of the tackles of the dark realities of contemporary pressure. The rooster is elevated in symbolism, commanding the comparable supremacy of the sun. A spirit that epitomizes pride, honest, courage, strength, vigilance and flamboyance in Japanese culture, it serves as a moral fortitude. A burning acrobat, gracefully postured in vaguely courageous performance is inconspicuously aided by the rooster. The silhouette of the fire visually imitates the head of the rooster, wherein the physical curvatures of both the subjects emanate a likeness.
Tenmyouya's artistic maturity is undoubtedly visible within the correlations of these four oeuvres offered this sale. The scrupulous diligence in layering both gold leaf and brush strokes may disclose the artist's fascination with tattoos. Imitating the repetitive performance of engraving, he stylishly utilizes analogy of tattoos as a tool for expressing strong respect for cultural identification and heritage in order to exhibit Japanese ideology and behavior, and also to figuratively mimic its technique in Tattoo Self Control (Lot 833)through overlapped layers of Japanese paper. Tenmyouya's mentality and dignity enables him to translate his inner soul onto paper, where each procedure of creating surface for his panels become a ritualistic act for meditation, in desire to revert back to his roots.
As traditional oriental art gave priority to techniques than to the conceptual aspect of the subject matter, Tenmyouya knowingly consent to this custom in patient, prodigious labor; conducing the artistic practice of layering, reproducing drawings on tracing papers and carving pencil lines on wood, akin to the technical method of Ukiyoe, he duplicates the drawings in systematic rigor; tracing and carving subjects of mass-produced recognition. Notwithstanding his very apparent dedication towards nationalism and tradition, Tenmyouya still addresses a variety of normative issue that arise from modernity. To examine such deep contemplation, he returns to the emblematic quality of his earlier work 'Flying Trapeze' and inserts it in Japanese Spirit No. 5 (Lot 831) to evoke a futuristic surrealism. The naked samurai, clothed only in tattoos is poised under the spider-like cyborg. As if in full preparation for a battle, the samurai appear intrepid and indestructible despite its vulnerable nudity.
The futuristic surrealism radiated from his oeuvres is heightened further with Tenmyouya's ingenious choice in utilizing the naturally glistening ingredient of gold leaf. The tasteful illumination toys with the spectators' perception by blinding them in perceptual confusion of their presence to reside either inside or outside of the painting, affirming his artistic aptitude in his comprehension of visual reductivity, a trait analogous to the liminal gap between stasis and animation, which together complements his graceful sensitivity towards space, vacancy and attention detail. Nevertheless, Tenmyouya achieves a two-dimensional, digital flatness to Eight 'Serpent and Crane' Moves vs. 'Drunken Fists' Ukiyo-e Manga Game of Hybrid Combat on Gold Leaf (Lot 832), presumably to utter Japan's rapid technological development that produced mass cultural commodity, marking a critical juncture in history and society that is two-dimensional. The influx of pop culture of manga and video games is effectively exemplified in his most recent oeuvre, patriotically exerting an influence of Japan on the rest of the world. Tenmyouya' signature technique in inserting emblems is staged within the frame of a video game; variable in its content, it bestows variable strength and qualities to these fighters. The three earlier works displayed an immobile posture, in alikeness to a poster; However in here, Tenmyouya attempts to depict movement, but not through the conventional insinuation of gestural brushstrokes, but rather decides on a very two-dimensional flatness of manga drawing, where the protagonists are typically given an additional arm or leg to create an impression of movement.
Venerating traits of traditional Japanese style painting 'nihonga', the Hisashi Tenmyouya self coined his works into a new genre of 'neo-nihonga' in his desire and loyalty to revive the deflated nostalgia of 'Japan-ness' that is lost. His paintings become the visual slang of nihonga paintings twisted in urban flavor, displaying complex hybridity in combining references to popular culture, cyber culture and manga. Through this convergence of cultural assortment, he questions the notions of originality, implanting deeply an engaging narrative. His Japanese spirit transpires through his conscientious technical prowess, fortifying his loyalty to his traditions and principles, which lies as the core breeder in his profound artistic creation.
