Landscape Erosion – Cherry blossoms in Setagaya 4
Year: 2021
Material/Technique: Photograph, Aluminum, UV Print
Size: 44 × 66 × 2.5 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
USD 1,182
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
About the Work
- Year
- 2021
- Material/Technique
- Photograph, Aluminum, UV Print
- Size
- 44 × 66 × 2.5 cm
- Edition
- Unique
- Signed
- Included
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- Jun Homma
- Ship-from Area
- Kanagawa Prefecture
- Days Until Dispatch
- About 2 Weeks
- Category
- Mixed Media
- Style
- Everyday, Conceptual, Society / Politics / History
Work Details
Born and raised in a residential area on the outskirts of Tokyo, my original landscape was during a period of high economic growth. The surrounding environment developed rapidly and changed to a uniform one. The nature and blank scenery that once existed were no longer visible, and I felt like they were drifting like an afterimage that had been stripped off. I think the reason I became interested in the “invisibility” contained in the landscape was because I had such an original experience. How can “invisibility” be read from the landscape? I visited various places in search of that hint. In the area around the hard-to-return area of Fukushima, I saw everyday scenes that no one could see were covered by flourishing plants and trees, and buried. In a place that used to be blocked by a wall in Berlin, I met people enjoying picnics instead of the wall that was there. At the concentration camp site, I traced the gaze that someone might have seen from here in the past, and looked at the trees and fresh greenery. What came and went into me through these scenes was a “view of impermanence.” Similar to past events that have been forgotten, everyday life that unfolds before our eyes will eventually become invisible as time passes. How can we imagine the history of existence in a place where there are no traces or clues, and the overlapping of time events?
“Scenery of Erosion” is a series in which landscape photographs are printed on aluminum, a part of it is scraped off, and polished to a mirror surface. The exposed aluminum that has appeared is a void that erodes and blocks the image. At the same time, what is reflected and projected there is the present world and our own appearance.
Production of the “Scenery of Erosion” series began and was announced during a stay in Berlin in 2019. Installation was completed in order to present part of it at a solo exhibition at void+ (Tokyo) in 2020. Just after that, the Japanese government declared a state of emergency following requests from Tokyo and the three prefectures in the metropolitan area to refrain from going out due to the effects of the novel coronavirus infection. The start of the exhibited works was postponed several times without being presented. In my spare time, I thought about making a new work reflecting this situation. It was just when cherry blossoms were in full bloom in Tokyo. I visited a place famous for cherry blossoms, but there were no cherry blossom viewers. What seems to be missing in the work is the scenery from that time.
*Weight 2.7 kg
*The thickness of the aluminum surface is 3 mm, and the panel is fixed to the back side to the wood. A space of about 20 mm can be created from the wall during installation. The back side has holes for screws and nails during installation.
*The surface is urethane coated to prevent rust.
There are rough scraped marks on the boundary between the image and the aluminum surface, and the surface gradually becomes mirrored towards the center.
The surface is urethane coated to prevent rust.
*The thickness of the aluminum surface is 3 mm, and the panel is fixed to the back side to the wood. A space of about 20 mm can be created from the wall during installation.
The chipped aluminum ingot is polished until it has a mirror surface and reflects the surrounding landscape.
Image on the back side There are holes (10 mm long x 60 mm wide)
for nails and screws.
Image of the back side (cross section) The thickness of the aluminum side is 3 mm, and 15 mm and 5.5 mm plywood are layered and fixed on the back side.
Hook the head of a nail or screw into the hole and place it on the wall. A space of about 20 mm can be created from the wall during installation.
View in a Room
How to Buy
This artwork is available for purchase.
USD 1,182
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
Artist
Born in Tokyo in 1967, Graduated from the Department of Three-Dimensional Design at Tama Art University in 1990. In 2019, he was based in Berlin as a trainee in the Agency for Cultural Affairs’ Overseas Study Program for Emerging Artists. Homma’s practice explores the concept of “invisibility” embedded in the world. By introducing invisible elements into the visible realm, his works draw attention to hidden histories, customs, and social systems. Working mainly with sculpture and installation, he has continued to develop site-specific projects in Japan and internationally since 2000. For Homma, imagination and insight into what cannot be seen are ways of engaging with the past and opening possibilities for the future. In recent years, his work has focused on series that place the creation and destruction of anonymous objects on a single timeline, and on works that evoke the uncertainty and invisibility of history and time through objects divided into boxes. Jun Homma 1967 Born in Tokyo Japan 1990 Graduated Department of Design at Tama Art University (BA) 1990~ 1992 Department of Sculpture at Tama Art University research student 2019 Fellow of Overseas Study Program for Artists, Agency for Cultural Affairs, Government of Japan / Berlin, Germany [Grants and Awards] 2019 Grant, the Overseas Study Program for Artists, Agency for Cultural Affairs, Government of Japan 2019 – GlogauAIR / Berlin, Germany 2015 First Prize, Seiko University Public Art Competition - Seiko University / Tainan City, Taiwan 2011 First Prize, Ilan University Public Art Competition - Ilan University / Ilan City, Taiwan 2000 First Prize, Echigo-Tsumari Art Triennial 2000 Project Competition [Artist in Residence] 2025 International Residency Program / No. 97 West District International Art Community / Quanzhou, China 2024 A4 Residency Program / A4 Art Center / Chengdu, China 2019 MAMMA Project / Sejong Art Center / Sejong, Korea 2019 GlogauAIR / Berlin, Germany 2018 Srishti Institute of Art, Design and Technology (Interim Program)/ Bangalore, India / Fellow of Japan Foundation 2012 FLYOVER/ YOKOHAMA MANILA / 98B Collaboratory / Manila, Philippines / Fellow of Pola Art Foundation, Japan Foundation [Solo Exhibitions] 2025 Time and Box – No. 97 West District International Art Community/ Quanzhou, China 2023 Now and Things / eitoeiko / Tokyo 2021 I saw a landscape / bononkyoto + KYOTOGRAPHIE KG+ / Kyoto 2020 I saw a landscape / void+/ Tokyo 2019 Landscape Erosion / GlogauAIR Showcase / Berlin, Germany 2018 Portrait of Erosion / Rangoli Metro Art Center/ Bangalore, India 2015 Unnamed Country / TRAUMARIS/SPACE/ Tokyo 2010 Breeze / Window / Yokohama Government Office/ Yokohama, Kanagawa 2009 And the Rivers Flow / Kogane-cho Area Management Center/ Yokohama, Kanagawa 2007 Breeze / 4 Flags / Gallery Caption/ Gifu 2006 Breeze / Statement / Gallery Caption/ Gifu 2005 Horizon - Gallery Gen/ Tokyo 2004 Around - La Galerie des NAKAMURA/ Tokyo 2003 Focusing on a New Generation in Tokyo 2003 - Gallery Gen/ Tokyo 2001 Window Installation - Desperado/ Tokyo 2001 Chattering - Gallery Gen/ Tokyo 1999 Pass - Gallery Gen/ Tokyo 1998 There - Gallery Gen/ Tokyo 1997 Rope - Gallery Gen/ Tokyo 1996 Pin - Gallery Gen, ZA MOKA FOUNDATION/ Tokyo 1993 Diary - Yokohama Galleria/ Kanagawa [Selected Group Exhibitions] 2024 Community Memories / No. 97 District /Quanzhou, China RE CREATE/ CPI/ Chengdu, China Kogane-cho Bazaar 2024 / Yokohama, Kanagawa [VOID+STOCK] Exhibition, Part 2 / void+/ Tokyo 2022 Extreme Cold Art Festival 2022 / Teshikaga-cho, Hokkaido 2021 Cherry Blossom Party / eitoeiko / Tokyo Extreme Cold Art Festival 2021 / Teshikaga-cho/ Hokkaido 2020 Seeing through the Invisible / Tennozu Central Tower Art Hall/ Tokyo Extreme Cold Art Festival 2020 / Teshikaga-cho/ Hokkaido 2019 Chennai Photo Biennale / Chennai, India Extreme Cold Art Festival 2019 / Teshikaga-cho/ Hokkaido 2018 Teshikaga Gokkan Art Festival / Teshikaga-cho/ Hokkaido 2017 Air Real - Kawaguchi Civic Art Gallery Ateria / Saitama Young Art Nagaoka / Nagaoka/ Niigata 2016 Teshikaga Gokkan Art Festival / Teshikaga-cho/ Hokkaido 2014 Echigo-tsumari Snow Art Festival / Echigo-Tsumari/ Niigata 2013 Setouchi Triennial 2013/ Kagawa, Okayama 2012 Echigo-tsumari Art Triennial 2012 / Echigo-Tsumari/ Niigata 2011 AOBA+ART / Yokohama, Kanagawa Kogane-cho Bazaar 2011/ Yokohama, Kanagawa 2010 Echigo-tsumari Snow Art Festival / Echigo-Tsumari/ Niigata 2009 Echigo-tsumari Art Triennial 2009 / Echigo-Tsumari/ Niigata SUITO Osaka 2009/ Osaka TAMAVIVANT 09 - Tama Art University/ Tokyo 2008 AOBA+ART/ Yokohama, Kanagawa Kogane-cho Bazaar/ Yokohama, Kanagawa 2007 Happy Hours - Zaim underground/ Yokohama, Kanagawa 2006 Echigo-tsumari Art Triennial 2006 ‒ Echigo-Tsumari/ Niigata 2004 A MUSE LAND 2004 - Hokkaido Museum of Modern Art/ Hokkaido 2003 Echigo-tsumari Art Triennial 2003 ‒ Echigo-Tsumari/ Niigata 2001 Aoba Triennial 2001 - Aoba-ku/ Yokohama, Kanagawa 2000 Echigo-tsumari Art Triennial 2000 ‒ Echigo-Tsumari/ Niigata 1999 Japan Art Scholarship / Spiral Hall / Tokyo 1996 Morphe ‘96 – Aoyama, Tokyo 1995 Miyazawa Kenji Kaigakan / Mitsukoshi Museum/ Tokyo 1992 Encountering the others / Kassel, Hann. Münden, Germany
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