Hiraku Suzuki 鈴木ヒラク

Constellation #41　2020

silver ink, earth, acrylic and Chinese ink on canvas, h2273 x w1818 x d40mm

Constellation #44　2020

silver ink, earth, acrylic and Chinese ink on canvas, h2273 x w1818 x d40mm

Constellation #38　2019

silver ink and Chinese ink on paper mounted on aluminum, h995 x w695mm

Constellation #32　2019

silver ink and Chinese ink on paper mounted on aluminum, h1395 x w1120mm

Constellation #29　2019

silver ink and Chinese ink on paper mounted on aluminum, h1395 x w12100mm

Constellation #24　2019

silver ink and Chinese ink on paper mounted on aluminum, h1745 x w1340mm

Constellation #23　2018

silver ink, earth, acrylic and Chinese ink on canvas, h2640 x w8620mm, installation view at Art Front Gallery (Tokyo, Japan) 2018, photo by Ooki Jingu

Constellation #19　2017

silver ink, earth, acrylic and Chinese ink on canvas, h2700 x w11000mm, installation view at Arts Maebashi (Gunma, Japan) 2017, photo by Ooki Jingu

Constellation #17　2017

silver ink, Chinese ink on paper mounted on aluminum, h1395 x w2100mm

Constellation #16　2016

silver ink, Chinese ink on paper mounted on aluminum, h1395 x w1015mm

Constellation #07　2016

silver ink, Chinese ink on paper mounted on aluminum, h1015 x w1395mm

Constellation #3-6, #8-15　2016-2017

silver ink, Chinese ink on paper mounted on aluminum, h995 x w695mm each, installation view at Arts Maebashi (Gunma, Japan) 2017, photo by Ooki Jingu

Constellation #06　2016

silver ink, Chinese ink on paper mounted on aluminum, h995 x w695mm

Constellation #01　2016

silver ink, Chinese ink on paper mounted on aluminum, h1395 x w1395mm

Dyeing both paper and canvas with Chinese ink and black mud, the artist creates obscure spaces as the background of his “Constellation” series. The orderly entire image is gradually composed by interlocking dots and lines applying light reflective silver ink. These are collective gestures of exploration between the visual and the textual, or the controllable and chance attempting to discover new signs. The work can be considered as evidence of trials to generate imaginary constellations, or a new representation of “calligraphy” in which light and shade are reversed.