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平松 輝子
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坂田 一男
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Teruko Hiramatsu's art
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"Private exhibitions in New York"

New York became the new center of fine arts instead of Paris. Hiramatsu visited America in December, 1964 and after working as a teacher, stayed in Chelsea, New York getting to know Japanese painter, Mike Kanemitsu, and becoming his friend.
Mike used the same studio as De Kooning (a giant among U.S. abstract painters). Hiramatsu also shared the studio.
An acrylic paint called Liquitex hit the United States market at that time. It had superior coloring than the traditional paints available in Japan and had a transparency. Its accidental effects produced by water dilution include intricate color mixtures and an infinite gradation of hues.
Hiramatsu used Japanese paper in collage, since Japanese paper dyes beautifully. Unlike oil paint that thickly coats the whole canvas, the technique of water color on Japanese paper produces the unexpected. The same relationship exists between Japanese paper and sumi. The unexpected lurks in blots and blurs made with ink. Beauty dwells in such areas.
Exhibition at AM SACHS GALLERY, Madison Street in January, l966. The colorful collages in acrylics, Japanese paper, and sumi were novel works in mixed media. Such exquisite expressive fields produced by dyeing, acrylics and Japanese paper, had beauty of color never before seen.
The critic John Canady of the New York Times wrote up this exhibition as follows, bringing it to the center of attention.
" High-style collages in brilliantly stained papers, crumpled and pasted onto painted backgrounds. They could hardly be more ornamental, if they are nothing more than something good to look at, neither are they anything less."
The critics also esteemed the traditional and oriental sensitivity in the Herald Tribune, Art News and PARK EAST.
Though the compositions of those abstract works is bold, they suggest the "yamatoe" created by Sotatsu Tawaraya, Hokusai and Hiroshige. Japanese "miyabi" was shown to the United States, and traditional "yamatoe" was reformed by new materials and techniques.
Work 1
"Rain of 10.000 stones"
Materials: canvas, oil, acrylic, sumi, Japanese paper.
Mixed media work.

Hiramatsu succeeded in her exhibition at Gallery 66, Los Angeles in May. Then she returned to Japan to create "Elegant Japan" using gold and silver leaf. The bold composition and color of this work bring to mind the work of Korin Ogata and other Rimpa artists. This series appeared at the Ichibankan Hall Gallery, Tokyo, 1967. Their motifs were various including nature themes, for example twilight-lit snow-covered landscape of the Japan Alps, etc.
Work 2
"The elegant Japan"
Materials: canvas, sumi, gold and silver leaf, acrylics and Japanese paper.
Abstract rendering of Japan's nature with bold composition. The composition spread over four panels resembles a Rimpa folding screen.

Work 3
"Hotaka Mountain Range"
Materials: canvas, sumi, acrylics and Japanese paper.
One of a series on mountains. Hiramatsu praises nature.

She exhibited at the American Culture Center in 1970, based on her earlier success in the United States. Many visitors arrived at the exhibition including United States Ambassador Johnson, the above-mentioned De Kooning, Yukio Kobayashi, curator of the National Museum of Modern Art, Tadao Ogura, curator of the National Museum of Modern Art, Kyoto, Takeo Yamaguchi, Masayuki Nagare, Tamon Miki, Shuzo Takiguchi and other celebrities seen in the photograph.
Contemporaneously, pollution problems and other environmental problems began to attract attention in Japan. Hiramatsu also exhibited an equidimensional series of 200 paintings on the theme of global environmental destruction at Piner Art Gallery, Tokyo, 1971. A view of the natural environment as an important element was itself primary to the culture of Japan.

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