The first London solo exhibition of the artist Toshiaki Hicosaka invites us to reflect on the world through fire: the driver of evolution, life, comfort and violence. From ocean to fire, his immersive installations of painting have embraced elements of the everyday. Here, fire reveals itself to viewers as a medium of perceptual relations. Through this new body of work by the artist, viewers are invited to reflect on the social and cultural environment that they live within.
In this talk, the artist is joined in conversation by Professor Sunil Manghani, Professor of Theory, Practice and Critique at the Winchester School of Art, University of Southampton.
The exhibition was curated by Eiko Honda.
With thanks to the Zabludowicz Collection for the equipment support.
About the contributors
Toshiaki Hicosaka (b. Aichi Prefecture, Japan, 1983) is a painter based in Kyoto.
Hicosaka had solo exhibitions at Aishonanzuka (2016, Hong Kong); Aisho Miura Arts (2013, Tokyo); Ohara Museum of Art (2011; Okayama, Japan); and Shiseido Gallery (2008, Tokyo). Selected group exhibitions include: egØ – Re-examining the Self, punto (2014, Kyoto); New Phases in Contemporary Painting, Hyogo Prefectural Museum of Art (2012, Hyogo, Japan); TRANS COMPLEX – The painting in the Age of Information Technology, Kyoto Art Center (2011, Kyoto); and MOT annual 2008 Unravelling and Revealing, Museum of Contemporary Art (2008, Tokyo). Hicosaka has received grants from The Pollock-Krasner Foundation (2009) and the Pola Art Foundation (2014). He works as a lecturer at the Kyoto University of Art and Design and also at Kurashiki University of Science and Art, Japan.
Professor Sunil Manghani
Professor Sunil Manghani is Professor of Theory, Practice and Critique and Director of Doctoral Research at the Winchester School of Art, University of Southampton.
He teaches and writes on various aspects of critical theory, visual arts and image studies. He has a particular interest in the practice-based PhD and is currently engaged in a project, Situations of Writing, which examines ‘writing’ as a diverse set of practices and the writer as both author and producer. He is author of Image Studies: Theory and Practice (Routledge, 2013) and co-editor of The Biennale Effect: A Politics of Contemporary Art (Routledge, 2017); Images: A Reader (Sage, 2006); and two multi-volume anthologies: Images: Critical and Primary Sources (Bloomsbury, 2013) and Painting: Critical and Primary Sources (Bloomsbury, 2015).