Profile
2015 Completed the Master’s Program, Graduate School of Fine Arts, Tokyo University of the Arts
Exhibitions
2022 How to Make a Landscape (Art Space Ginga 101)
2022 The 3rd PATinKyoto Kyoto Print Triennale (Kyoto City KYOCERA Museum of Art)
2021 Hold Tight, Let Go, and Then Gather (Gallery Soumei-do)
2019 Soumei-do Contemporary Exhibition Vol.1 (Gallery Soumei-do)
2018 Rain to snow (Gallery Soumei-do)
2017 Solo Exhibition: Records of Uncertainty (Open Letter)
2015 Solo Exhibition: form / category (Open Letter)
Public Collections
Teikyo University (Tokyo)
Metal Art Museum Hikari no Tani (Chiba)
Introduction
HAMANO Emi’s works make frequent use of lines that intersect and interact in various ways.
As one gazes upon these lines, one is gradually drawn into the sense of order that emerges within them.
What becomes visible within this order is something akin to Hamano’s own memories.
These memories are absorbed into her inner world by being connected through lines and points,
then transformed once again through the printing process and transferred onto paper.
Hamano is also deeply attracted to the element of chance inherent in printmaking
—the way unintended variations and accidents arise through the process, becoming an integral part of the final work.
2015 Completed the Master’s Program, Graduate School of Fine Arts, Tokyo University of the Arts
Exhibitions
2022 How to Make a Landscape (Art Space Ginga 101)
2022 The 3rd PATinKyoto Kyoto Print Triennale (Kyoto City KYOCERA Museum of Art)
2021 Hold Tight, Let Go, and Then Gather (Gallery Soumei-do)
2019 Soumei-do Contemporary Exhibition Vol.1 (Gallery Soumei-do)
2018 Rain to snow (Gallery Soumei-do)
2017 Solo Exhibition: Records of Uncertainty (Open Letter)
2015 Solo Exhibition: form / category (Open Letter)
Public Collections
Teikyo University (Tokyo)
Metal Art Museum Hikari no Tani (Chiba)
Introduction
HAMANO Emi’s works make frequent use of lines that intersect and interact in various ways.
As one gazes upon these lines, one is gradually drawn into the sense of order that emerges within them.
What becomes visible within this order is something akin to Hamano’s own memories.
These memories are absorbed into her inner world by being connected through lines and points,
then transformed once again through the printing process and transferred onto paper.
Hamano is also deeply attracted to the element of chance inherent in printmaking
—the way unintended variations and accidents arise through the process, becoming an integral part of the final work.
