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Hiromoto estrutura uma cena urbana, concentra-se nas recordações, nos objetos de estúdio e ensaia um vocabulário simbólico...

Sandra Hiromoto is one of the most prolific visual artists in Southern Brazil today. Her work has integrated exhibitions in her country and in the

Japan.

...Sandra trabalha nas fronteiras, nos limites entre Artes e linguagens

Nas paisagens urbanas de Hiromoto, porém, a cidade não aparece como cenário, mas como organismo vivo que nos desafia a experimentar sensações novas.

Do ponto de vista poético, sugerimos uma presença marcada por uma ausência: a cadeira imaterializada, perpassa diálogos não manifestados.

Já não é mais somente o objeto que está implicado na visão, é também um mundo de significações que se abre a partir dele.

 
 
 
 
 

Heart

Sandra Hiromoto is one of the most prolific visual artists in Southern Brazil today. Her work has integrated exhibitions in her country and in the

Japan. Uniting past and present, images symbolic contents, textures, formal repetitions, stencil, painting and graffiti,

Sandra creates visual universes that dialogue with ways of living in the metropolis

South American countries.

The present individual show, which the artist called "Heart" (heart in

English), О composed of a series of paintings inspired by the songs presented

by Fernanda Takai on her "Live" show. Sandra composed visual texts from

elements present in the lyrics of the songs performed by the Brazilian singer and

he merged them with the graphic components of his own universe. Resulting from

meeting of the sensibility of two artists, the paintings now offered to the appreciation are registers of looks around, immersed in the most different feelings.

It is important to point out that works on display have their emotional potential expanded

besides this show, because they also integrate the scenery of the show that Fernanda performs in Toyohashi.

Rosemeire Odahara

Professor and Researcher in History of Art

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Objetos de Andersen

The representation of the landscape of Paraná was a pioneering action of the painting of Andersen.

The painting outdoors was a reflection of the atmosphere, the action of the body and the temporary record that they formed in a lapse of meaning. From paint to paint industries, reticles and large brush strokes, Hiromoto structures an urban scene, concentrates on memories, on studio objects and rehearses a symbolic vocabulary. What conforms is a memory of the painter, the bold and simple gestures, the sounds and the babbling.

Hiromoto looks for a remote past to dye the color, and grate the walls. The vague memories are records of life, of the artist and make the heart of the city pulsate.

Denise Flag

May 2014

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InCommunity Place

... Sandra works at borders, on the border between Arts and languages. With a background in industrial design, in her work she appropriates the elements and techniques used by both painters and designers. In his works the letters, words, images (constructed by him or others) and textures are represented by means of artisan and semi-industrial techniques. The visual compositions that Sandra now presents are related to issues she has shown in previous productions, and in these as in those details are observed, songs, aspects of private life represented through materials and techniques that today's society relates to expressive actions in public spaces. Sandra's intricate representations of places are like unseen walls, over which the mind projects a seemingly disconnected group of things (chairs, lamps, letters, textures, words, dialogues ...), but which are interconnected by the process of mnemonic recording of striking facts.



Rosemeire Odahara

Professor and Researcher in History of Art

Professor and Researcher in Art History

Extracted from the catalog of the exhibition "Lugar InComum" Mac / PR 2013

"The exercise of perception"


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Sandra Hiromoto promotes the dialogue of domestic objects, better, everyday objects. But who dialogues with them? Is the artist talking to your painting? Or are we, the spectators, that we are invited to dialogue with objects and by extension with the artist herself? What secrets do these objects want to share? These disturbing questions permeate the entire work of Sandra Hiromoto, either by the choice of its theme or by the way of aesthetic approach. What is striking is the paradox between the manipulation of digital photography with its vigorous, expressive, intuitive brush strokes. This uneasiness is also in its creative process, it uses urban art and promotes new questions by mixing the easel painting with stencil art, appropriate of urban art. Creating with it a hybrid painting where the vibrant color is a provocative color.

Walkyria Novais
artist Plastic

 

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... in the works of the plastic artist Sandra Hiromoto is visible the diverse influences in its production: from the stencil (so present in the work of the grafiteiros) to the typography (of its formation as graphic designer). The artist incorporates these elements into the pictorial space, along with the construction of an internal environment; in it, we have a first plan, with the insertion of everyday objects and graphic elements borrowed from typography. From a poetic point of view, we suggest a presence marked by an absence: the chair of the immaterial, passing unmanifested dialogues. The second plane assumes the outside, as we glimpse the silhouette of a building in the background, which suggests greater distance from the more intimate space of the foreground. All the pictorial elements point to an emptying of meaning, suggesting a space that is constructed and reconstructed every aesthetic experience with the work.

Elisa Gunzi

Master in Visual Poetics -

Doctor of Visual Arts Coordinator / Plastic Artist

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Objetos e Afetos

What are the objects of our affection? Among so many objects in the world, why do only a few attract our attention, extrapolate their daily function and come to inhabit our imaginary and instigate our memories? The objects capable of giving affection are auric, because they can integrate past and present as in a flash that unexpectedly projects in front of us. It is no longer only the object that is implied in the vision, it is also a world of meanings that opens from it. This can happen, eventually, with anything, whether made by man or part of nature. As in the relation presented by Georges Didi-Huberman in What we see, what looks at us, a dialectic relation where sense is provoked by the whole: it is the interaction that matters, that is, if it happens. On the other hand, if there is no interaction there is no event and we continue in indifference. This happens all the time, because this is how the vision acts: by exclusion. We have to exclude certain things so that we can see others. Each time I cast my vision for something, it also looks at me, I may or may not be sensitive to this look, just as it is with people's encounters and mismatches. In the case of painting, the canvas functions as parentheses, an unusual protrusion in the order of things. My eye opens to the experience of something extraordinary: an event is happening and I became his eyewitness. And even more, with this screen that is before me, I become part of it. I can tell, I can tell you what's going on with me, and I'll still be talking about it. From there, objects chosen as actors become also: ink, brushstroke, shape, color, texture, movement, body, skin, which add up to all the other memorable experiences we have. It is precisely at this point that I find one of the main senses put into play by the paintings named Affective Objects, that of bringing the painting with its objects and its affections, very close to us, witnesses of the event and, whispering in our ear , simply ask: see!

Objects and Affects

 
Adriane Hernandez