バナナ#536, チベット;全曖昧連続体、“バナナ#15(バナナ#3).(29)M.読;チベット人/アメリカ:ny”2003

Born in Osaka, Japan The central focus of Sunao Horikawa's practice lies in a fundamental question within painting: how to capture the form of a three-dimensional object and translate that information onto a two-dimensional plane. In addressing this question, Horikawa focuses on the diverse and complex relationships underlying the process from observation to depiction, through the examination and practice of various methodologies. In the phase of observation, closely examining an object does not necessarily guarantee capturing the object itself. Rather, a paradox arises: the more intensely one gazes at the details of an object in an attempt to transcribe it accurately, the more its preconceived image wavers, causing the overall sense of unity to collapse. Furthermore, in the phase of depiction, the more one strives to faithfully reproduce visual information, the more the subtleties and ambiguities of form, color, and light are stripped away, resulting in an artificial-looking image. Using this discrepancy between "seeing" and "depicting" as a point of departure, Horikawa explores the essence of drawing and its multifaceted nature through the practice of diverse techniques. For instance, using familiar objects such as bananas and oranges, Horikawa experiments with different approaches, including observation from multiple viewpoints, tactile observation, and exploratory drawing mediated by words, memory, and knowledge. In recent research, Horikawa expands this inquiry beyond the boundaries of fine art, referencing fields where techniques for converting three-dimensional information into two-dimensional planes have historically developed, such as botanical illustrations and maps. By analyzing the methods of observation and depiction in these fields, and applying their inherent processes of information selection and abstraction to artistic expression, Horikawa aims to reappraise the act of depiction--the conversion of three dimensions into two--from multiple perspectives, thereby practically expanding the possibilities of expression. 2025 Part-time Lecturer, Schooling, The Open University of Japan (Hiroshima Study Center). Part-time Lecturer, Yamaguchi University, Faculty of Education (Art Education Program). 2023- PHD, Kyoto City University of Art, Kyoto 2022- HIROSHIMA UNIVERSITY Graduate School of Humanities and Social Sciences, Faculty of Education Education of Plastic Arts, Assistant professor 2021-2022 AUA's Graduate School of Transdisciplinary Arts, Assistant 2015-2016 fellowship for Oversea Research, POLA Art Foundation 2012 M.F.A., Kyoto City University of Art, Kyoto, Japan 2010 B.F.A., Kyoto Seika University, Kyoto, Japan 2008 exchange student, Cooper Union School of Art, NY, USA