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First basic Prototype / architectural model for ‘The Hybrid Drawing Center’ ~ an imaginary art school facility. Not really sure where this it at yet, more of a sketch really.

From the proposed project, ‘Classroom Ecologies’
After the Educational Complex. 2022 - 2025
Wood Construction, On Plastic Palette
75cm x 50cm x 35cm

Scenery: Tokyo University of the Arts [Toride Campus]
場面: 取手キャンパス東京藝術大学

#educationalcomplex #classroomecologies
#model #sculpture #palettes

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

[Repost] ‘Double Fictions’ / 二重の虚構
@same_gallery Tokyo 7 April - 21 April 2024

Looking Back 2 years ago today!

W/: Andrea Istvan Franzini | Petra Feriancova | Emi Mizukami | Beatrice Zito | Robin Waart | Kei Murata | Rintarou Takahashi | Micah Danges | & me
-
Presented by ‘manos + shared_praxis’
Curated by @hogan_jesse_
_

4/07(Sun.)→ 4/21(Sun.) 2024

アーティスト:
Micah Danges @micahdanges
Andrea Istvan Franzini @andreaistvanfranzini
Petra Feriancova @petra_feriancova
Emi Mizukami @mizukamiiii
Beatrice Zito @acerbeti
Robin Waart @robinwaart
Kei Murata @kemrta
Rintarou Takahashi @hybridtaro
Hogan Jesse @hogan_jesse_

Thanks: @kisshomaru @niwawawawa
@c.a.library @c.a.daily @manos.manos.manos
@shared_praxis_

#doublefictions #installation #exhibition
#conceptualism #contemporaryart

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Visit to the V&A east storehouse during the UAL Central Saint Martins X Tokyo Geidai Research Trip to London last month.

The Storehouse features more than half a million objects, works, and artifacts, and has received both positive and negative criticism since its inception opening last year in 2025. I’d been especially interested to see the brutalist architectural fragments from the fairly recently demolished ‘Robin Hood’ London Social housing estate. They had a quite beautiful documentary on play with interviews, poetry, and memorial accounts from former residents of the estate bringing to life the relocated segments of the apartments interior and exterior parts. I heard Visitors and Viewers often complain about the lack of captions and labels on the artifacts and the fact that the order of things is completely anachronistic. There is no particular logic or categorization. While I felt uncertain about some aspects of the collection and overwhelmingly impressed at the same time, I thought the random order of things and the absence of captioning works rather well, enabling a more intuitive reading of things. There is a conservation theatre that can be viewed from glass balconies laying bare the process of archiving and restoration to the public. Obviously the funding behind this type of facility is unimaginable and as we know collections such as these are questionable to say the least. It will be interesting to see how this type of model will affect museology into the future. Nonetheless, feel lucky to have seen it in the real!

@vamuseum @unioftheartslondon @gap_geidai

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
•
年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
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PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

Years end Shots from ‘The Educational Art Complex’. Today marking the last official day of the 2025 / Reiwa 7th Academic School year at Tokyo University of the Arts. All the meetings and formal stuff is now done with graduation ceremonies coming up in 2 weeks. Looking back at just a few of the daily snapshots I’ve taken on Campus over the year ~ 100’s more piled up in the camera roll. Anyone who works or studies here knows how unique and interesting this place is. As always so much thanks and respect to all the other professors, assistants, associates, humans, artists, colleagues, & fellows. It’s a real pleasure and a privilege to work alongside side such talented & thoughtful people. Looking forward to continuing the next year of research, practice, and studies from April!
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年末 / 「芸術教育複合施設」からのスナップショット。今日は東京藝術大学の令和7年目（2025年度）の公式最終日でした。すべての会議や公式行事が終わり、2週間後には卒業式が控えています。この1年間、キャンパスで定期的に撮影してきた日々のスナップ写真の中からほんの数枚を振り返ってみました。カメラロールには何百枚もの写真が蓄積されています。ここで働いたり学んだりした人なら誰でも、この場所がいかにユニークで興味深い場所であるかを知っているでしょう。いつものように、他の教授、助手、アソシエイト、人間、アーティスト、同僚、フェローの皆様に心からの感謝と敬意を表します。才能豊かで思慮深い方々と共に働くことは、大きな喜びであり、光栄なことでした。4月から始まる次の1年間も、研究、実践、そして学びの日々を楽しみにしています！
•
PS: It’s Friday the 13th : ))
13.03.2026

The last in the first set of 10 essay text (not) paintings. Plate 9 that sits in line before plate 10 ‘Bad Painting’. It’s barely visible on the semi opaque ivory perspex plate, (hence the various photo angles) however it’s significant in the notion of a medium losing visibility and relevance at times of change and crisis. Its chronological position could lye somewhere around the mid 70’s again in the 90’s or even possibly right now.

(fig.)

‘Painting in Crisis’ (Self Titled)
Painting After - Assessment Task IX
Engraved Plexiglass Panel, Steel Bracket
Plate 9 of 10, 2024, 5mm x 21 x 28cm
•
‘Not Painting / Essay Text Series’
Limited editions, Complete Set of 10

#painting #notpainting #hoganjesse
#artandlanguage #paintingincrisis
#conceptualpainting

The last in the first set of 10 essay text (not) paintings. Plate 9 that sits in line before plate 10 ‘Bad Painting’. It’s barely visible on the semi opaque ivory perspex plate, (hence the various photo angles) however it’s significant in the notion of a medium losing visibility and relevance at times of change and crisis. Its chronological position could lye somewhere around the mid 70’s again in the 90’s or even possibly right now.

(fig.)

‘Painting in Crisis’ (Self Titled)
Painting After - Assessment Task IX
Engraved Plexiglass Panel, Steel Bracket
Plate 9 of 10, 2024, 5mm x 21 x 28cm
•
‘Not Painting / Essay Text Series’
Limited editions, Complete Set of 10

#painting #notpainting #hoganjesse
#artandlanguage #paintingincrisis
#conceptualpainting

The last in the first set of 10 essay text (not) paintings. Plate 9 that sits in line before plate 10 ‘Bad Painting’. It’s barely visible on the semi opaque ivory perspex plate, (hence the various photo angles) however it’s significant in the notion of a medium losing visibility and relevance at times of change and crisis. Its chronological position could lye somewhere around the mid 70’s again in the 90’s or even possibly right now.

(fig.)

‘Painting in Crisis’ (Self Titled)
Painting After - Assessment Task IX
Engraved Plexiglass Panel, Steel Bracket
Plate 9 of 10, 2024, 5mm x 21 x 28cm
•
‘Not Painting / Essay Text Series’
Limited editions, Complete Set of 10

#painting #notpainting #hoganjesse
#artandlanguage #paintingincrisis
#conceptualpainting

The last in the first set of 10 essay text (not) paintings. Plate 9 that sits in line before plate 10 ‘Bad Painting’. It’s barely visible on the semi opaque ivory perspex plate, (hence the various photo angles) however it’s significant in the notion of a medium losing visibility and relevance at times of change and crisis. Its chronological position could lye somewhere around the mid 70’s again in the 90’s or even possibly right now.

(fig.)

‘Painting in Crisis’ (Self Titled)
Painting After - Assessment Task IX
Engraved Plexiglass Panel, Steel Bracket
Plate 9 of 10, 2024, 5mm x 21 x 28cm
•
‘Not Painting / Essay Text Series’
Limited editions, Complete Set of 10

#painting #notpainting #hoganjesse
#artandlanguage #paintingincrisis
#conceptualpainting

The last in the first set of 10 essay text (not) paintings. Plate 9 that sits in line before plate 10 ‘Bad Painting’. It’s barely visible on the semi opaque ivory perspex plate, (hence the various photo angles) however it’s significant in the notion of a medium losing visibility and relevance at times of change and crisis. Its chronological position could lye somewhere around the mid 70’s again in the 90’s or even possibly right now.

(fig.)

‘Painting in Crisis’ (Self Titled)
Painting After - Assessment Task IX
Engraved Plexiglass Panel, Steel Bracket
Plate 9 of 10, 2024, 5mm x 21 x 28cm
•
‘Not Painting / Essay Text Series’
Limited editions, Complete Set of 10

#painting #notpainting #hoganjesse
#artandlanguage #paintingincrisis
#conceptualpainting

‘Flexible Learning Environments’
(Model for Classroom Ecologies), 2025
Pine, Ply, University Cabinet
60cm x 91cm x 150cm

Another proto-architectural research model for ‘Classroom Ecologies’ - Installed 2F Space of the Faculty of Fine Arts Building [Toride / 取手芸大]. I would say this is more of a Sculptural Sketch or Test, Not a finished work for the project. This particular model is based on Le Corbusier’s basic construction drawing for a reinforced concrete house; drawn from the Modern Architecture section of the classic Highschool text book ‘A History of Art’, 1974. The External walls are fixed on to the concrete skeleton; the internal walls moveable. Hence ‘Flexible Learning Environment’.

Reference: ‘A History of Art’, 1974 [Visual Arts Text Book] By Hugh Honour & John Fleming
Le Corbusier (1) REINFORCED CONCRETE SLAB

#sculpture #classroomecologies #architecturalmodel #educationalcomplex #lecorbusier #hoganjesse
#tokyouniversityofthearts

‘Flexible Learning Environments’
(Model for Classroom Ecologies), 2025
Pine, Ply, University Cabinet
60cm x 91cm x 150cm

Another proto-architectural research model for ‘Classroom Ecologies’ - Installed 2F Space of the Faculty of Fine Arts Building [Toride / 取手芸大]. I would say this is more of a Sculptural Sketch or Test, Not a finished work for the project. This particular model is based on Le Corbusier’s basic construction drawing for a reinforced concrete house; drawn from the Modern Architecture section of the classic Highschool text book ‘A History of Art’, 1974. The External walls are fixed on to the concrete skeleton; the internal walls moveable. Hence ‘Flexible Learning Environment’.

Reference: ‘A History of Art’, 1974 [Visual Arts Text Book] By Hugh Honour & John Fleming
Le Corbusier (1) REINFORCED CONCRETE SLAB

#sculpture #classroomecologies #architecturalmodel #educationalcomplex #lecorbusier #hoganjesse
#tokyouniversityofthearts

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

[Documentation / Announcement]
FLMS Prize Exhibition @sca_sydney
•
I’m still in disbelief, but… It’s an absolute Honour to be awarded the SCA Fauvette Loureiro Scholarship for 2025. I was still in a class lecturing when I got a call from SCA on Wednesday night and suddenly realised that it had happened. ‘You’ve Won’!?

I’m very grateful. SCA was where I developed my original foundations and the place where I met so many artists who still influence my practice till this day. It is in the memories of USYD Camperdown and haunted grounds of the old Kirkbride SCA - the architecture, the materials, the classroom spaces, and studio curriculum, that inspires intricate parts of this project’ and from which much of this current research stems.

The intersecting components of my installation bring together various modes of practice that culminate in the planned development. The ‘Tin Sheds Architecture model’ collab w/ Architect @byronbourke (for Classroom Ecologies), The Large wall text and diagrams (Realm of the Half-forgotten) and the cast clay plaques and bricks from (Reverse Histories). Something that felt particularly important was the inclusion of the UTS Vitrine with its unique history having housed the work of so many other artists - and the unused Palette made by ARM Architects for the New SCA Teachers College building renovation, used here to support the Gallery model. These structures of display brought in an element of memory and reference that I have been waiting to incorporate.

If you haven’t already been to check out the incredible works I recommend you do. I wish I could be there in person but I’m appreciating it from afar. I’m looking forward to share the developments of this work as I go in 2026 to exhibit in Vienna and conduct research at the Universiität der Künste @udkberlin in Berlin.

I would like to particularly thank @liam_garstang & @emma__oneill for their impeccable attention to detail, The distinguished panel including @julierrap @talialinz and @marleydawson / & To everyone who has contributed along the way ~ family, friends, fellow artist ~ and to the SCA install team that made this possible.

Photo @documentphotography

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Excited to be showing in this years SCA Alumni Fauvette Loureiro Memorial Scholarship 2025 finalists exhibition opens this week Wednesday 8th OCT @sca_sydney

I’ll be presenting components from 3 intersecting projects including ‘Realm of the Half-forgotten’ (2022), ‘Reverse Histories’ (2023) & ‘Classroom Ecologies’ (2024) all of which inform the background of the proposed research.

If you’re in Sydney go check it out to see some of the amazing works by the fellow finalists.

Images: Selections from ‘Reverse Histories’ / Architectural modelling ‘Tin Sheds Plinth’ w/:
Anderson Stewart Building 3D Print
+ Catalog archives
______________________________

Mid-Career/Established Finalists:Barbara Campbell, Cybele Cox, Jesse Hogan, Lucas Davidson, Tim Silver Emerging Finalists: Jennifer van Ratingen, Kate McGuinness, Remi Siciliano, Sophie Penkethman-Young.

Opening and Recipient Announcement:
Wednesday, 8 October, 6pm–8pm.

Ryan Gander ‘Phantom Ambition’ Art is Cognitive, not Retinal Special Lecture organized in cooperation withDepartment of Oil Painting and Department of Architecture.

Consecutive interpretation by Tomoko Momiyama (Art Translators Collective)

https://gap.geidai.ac.jp/news/ryan-gander-phantom-ambition/
.
.
.
.
#ryangander #tokyouniversityofthearts #globalartpractice #phantomambition #tokyogeidai

Ryan Gander ‘Phantom Ambition’ Art is Cognitive, not Retinal Special Lecture organized in cooperation withDepartment of Oil Painting and Department of Architecture.

Consecutive interpretation by Tomoko Momiyama (Art Translators Collective)

https://gap.geidai.ac.jp/news/ryan-gander-phantom-ambition/
.
.
.
.
#ryangander #tokyouniversityofthearts #globalartpractice #phantomambition #tokyogeidai

Ryan Gander ‘Phantom Ambition’ Art is Cognitive, not Retinal Special Lecture organized in cooperation withDepartment of Oil Painting and Department of Architecture.

Consecutive interpretation by Tomoko Momiyama (Art Translators Collective)

https://gap.geidai.ac.jp/news/ryan-gander-phantom-ambition/
.
.
.
.
#ryangander #tokyouniversityofthearts #globalartpractice #phantomambition #tokyogeidai

Ryan Gander ‘Phantom Ambition’ Art is Cognitive, not Retinal Special Lecture organized in cooperation withDepartment of Oil Painting and Department of Architecture.

Consecutive interpretation by Tomoko Momiyama (Art Translators Collective)

https://gap.geidai.ac.jp/news/ryan-gander-phantom-ambition/
.
.
.
.
#ryangander #tokyouniversityofthearts #globalartpractice #phantomambition #tokyogeidai

Special Lecture of @ryanjgander titled ‘Phantom Ambition’ (Art is cognitive not retinal) at @tokyo_geidai - That I will be hosting this coming Monday 29th September. Many thanks to everyone who has helped to make this possible. Details Below:

美術学部油画科、建築科、大学院美術研究科GAP専攻より、9月29日に開催する特別講演会のお知らせです。この度、国際的に活躍するアーティスト、ライアン・ガンダー氏をお招きし、彼のコンセプチュアル・ユーモア、学際的アプローチ、そして10年以上にわたる日本での活動の概要について議論します。

藝大特別講演会・トークイベント

「RYAN GANDER」’Phantom Ambition’
(Art is Cognitive not Retinal)

ライアン・ガンダー「幻影の野望」
(芸術は網膜ではなく認知である）

司会・進行: ホーガン・ジェシー @hogan_jesse_
(准教授)東京芸大絵画科油画第1研究室

開催概要：

日時：2025年 9月 29日（月）17:30 - 19:30
（入場開始17:00 - 17:15）
会場：東京藝術大学上野キャンパス 第1講義室（中央棟）
〒110-8714 東京都台東区上野公園１２−８

主催 (司会・サポート教員)：
ホーガン・ジェシー ・准教授（東京藝術大学 絵画科油画第1研究室）
安部良・准教授（東京藝術大学 建築学科）
灰原千晶・講師 (東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻) @gap_geidai

協力: 東京藝術大学絵画科油画、建築科、大学院美術研究科グローバルアートプラクティス専攻, TARO NASU, 岡山芸術交流, ポーラ美術館, ライアン・ガンダー スタジオ
@taronasu_tokyo @okayamaartsummit
@polamuseumofart

逐次通訳: 樅山智子 (Art Translators Collective)

グラフィックデザイン: 林頌介
@kohsuke.hayashi

‘Phantom Ambition’ Images:
Courtesy of Ryan Gander Studios
Special Thanks: @em_brysonn

(注: 東京藝術大学への予約は締め切られました) Note:
(Reservations are closed to Tokyo University of the Arts)

#ryangander #artlecture #tokyogeidai
#artiscognitivenotretinal #arttalks

Special Lecture of @ryanjgander titled ‘Phantom Ambition’ (Art is cognitive not retinal) at @tokyo_geidai - That I will be hosting this coming Monday 29th September. Many thanks to everyone who has helped to make this possible. Details Below:

美術学部油画科、建築科、大学院美術研究科GAP専攻より、9月29日に開催する特別講演会のお知らせです。この度、国際的に活躍するアーティスト、ライアン・ガンダー氏をお招きし、彼のコンセプチュアル・ユーモア、学際的アプローチ、そして10年以上にわたる日本での活動の概要について議論します。

藝大特別講演会・トークイベント

「RYAN GANDER」’Phantom Ambition’
(Art is Cognitive not Retinal)

ライアン・ガンダー「幻影の野望」
(芸術は網膜ではなく認知である）

司会・進行: ホーガン・ジェシー @hogan_jesse_
(准教授)東京芸大絵画科油画第1研究室

開催概要：

日時：2025年 9月 29日（月）17:30 - 19:30
（入場開始17:00 - 17:15）
会場：東京藝術大学上野キャンパス 第1講義室（中央棟）
〒110-8714 東京都台東区上野公園１２−８

主催 (司会・サポート教員)：
ホーガン・ジェシー ・准教授（東京藝術大学 絵画科油画第1研究室）
安部良・准教授（東京藝術大学 建築学科）
灰原千晶・講師 (東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻) @gap_geidai

協力: 東京藝術大学絵画科油画、建築科、大学院美術研究科グローバルアートプラクティス専攻, TARO NASU, 岡山芸術交流, ポーラ美術館, ライアン・ガンダー スタジオ
@taronasu_tokyo @okayamaartsummit
@polamuseumofart

逐次通訳: 樅山智子 (Art Translators Collective)

グラフィックデザイン: 林頌介
@kohsuke.hayashi

‘Phantom Ambition’ Images:
Courtesy of Ryan Gander Studios
Special Thanks: @em_brysonn

(注: 東京藝術大学への予約は締め切られました) Note:
(Reservations are closed to Tokyo University of the Arts)

#ryangander #artlecture #tokyogeidai
#artiscognitivenotretinal #arttalks

Special Lecture of @ryanjgander titled ‘Phantom Ambition’ (Art is cognitive not retinal) at @tokyo_geidai - That I will be hosting this coming Monday 29th September. Many thanks to everyone who has helped to make this possible. Details Below:

美術学部油画科、建築科、大学院美術研究科GAP専攻より、9月29日に開催する特別講演会のお知らせです。この度、国際的に活躍するアーティスト、ライアン・ガンダー氏をお招きし、彼のコンセプチュアル・ユーモア、学際的アプローチ、そして10年以上にわたる日本での活動の概要について議論します。

藝大特別講演会・トークイベント

「RYAN GANDER」’Phantom Ambition’
(Art is Cognitive not Retinal)

ライアン・ガンダー「幻影の野望」
(芸術は網膜ではなく認知である）

司会・進行: ホーガン・ジェシー @hogan_jesse_
(准教授)東京芸大絵画科油画第1研究室

開催概要：

日時：2025年 9月 29日（月）17:30 - 19:30
（入場開始17:00 - 17:15）
会場：東京藝術大学上野キャンパス 第1講義室（中央棟）
〒110-8714 東京都台東区上野公園１２−８

主催 (司会・サポート教員)：
ホーガン・ジェシー ・准教授（東京藝術大学 絵画科油画第1研究室）
安部良・准教授（東京藝術大学 建築学科）
灰原千晶・講師 (東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻) @gap_geidai

協力: 東京藝術大学絵画科油画、建築科、大学院美術研究科グローバルアートプラクティス専攻, TARO NASU, 岡山芸術交流, ポーラ美術館, ライアン・ガンダー スタジオ
@taronasu_tokyo @okayamaartsummit
@polamuseumofart

逐次通訳: 樅山智子 (Art Translators Collective)

グラフィックデザイン: 林頌介
@kohsuke.hayashi

‘Phantom Ambition’ Images:
Courtesy of Ryan Gander Studios
Special Thanks: @em_brysonn

(注: 東京藝術大学への予約は締め切られました) Note:
(Reservations are closed to Tokyo University of the Arts)

#ryangander #artlecture #tokyogeidai
#artiscognitivenotretinal #arttalks

Special Lecture of @ryanjgander titled ‘Phantom Ambition’ (Art is cognitive not retinal) at @tokyo_geidai - That I will be hosting this coming Monday 29th September. Many thanks to everyone who has helped to make this possible. Details Below:

美術学部油画科、建築科、大学院美術研究科GAP専攻より、9月29日に開催する特別講演会のお知らせです。この度、国際的に活躍するアーティスト、ライアン・ガンダー氏をお招きし、彼のコンセプチュアル・ユーモア、学際的アプローチ、そして10年以上にわたる日本での活動の概要について議論します。

藝大特別講演会・トークイベント

「RYAN GANDER」’Phantom Ambition’
(Art is Cognitive not Retinal)

ライアン・ガンダー「幻影の野望」
(芸術は網膜ではなく認知である）

司会・進行: ホーガン・ジェシー @hogan_jesse_
(准教授)東京芸大絵画科油画第1研究室

開催概要：

日時：2025年 9月 29日（月）17:30 - 19:30
（入場開始17:00 - 17:15）
会場：東京藝術大学上野キャンパス 第1講義室（中央棟）
〒110-8714 東京都台東区上野公園１２−８

主催 (司会・サポート教員)：
ホーガン・ジェシー ・准教授（東京藝術大学 絵画科油画第1研究室）
安部良・准教授（東京藝術大学 建築学科）
灰原千晶・講師 (東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻) @gap_geidai

協力: 東京藝術大学絵画科油画、建築科、大学院美術研究科グローバルアートプラクティス専攻, TARO NASU, 岡山芸術交流, ポーラ美術館, ライアン・ガンダー スタジオ
@taronasu_tokyo @okayamaartsummit
@polamuseumofart

逐次通訳: 樅山智子 (Art Translators Collective)

グラフィックデザイン: 林頌介
@kohsuke.hayashi

‘Phantom Ambition’ Images:
Courtesy of Ryan Gander Studios
Special Thanks: @em_brysonn

(注: 東京藝術大学への予約は締め切られました) Note:
(Reservations are closed to Tokyo University of the Arts)

#ryangander #artlecture #tokyogeidai
#artiscognitivenotretinal #arttalks

Special Lecture of @ryanjgander titled ‘Phantom Ambition’ (Art is cognitive not retinal) at @tokyo_geidai - That I will be hosting this coming Monday 29th September. Many thanks to everyone who has helped to make this possible. Details Below:

美術学部油画科、建築科、大学院美術研究科GAP専攻より、9月29日に開催する特別講演会のお知らせです。この度、国際的に活躍するアーティスト、ライアン・ガンダー氏をお招きし、彼のコンセプチュアル・ユーモア、学際的アプローチ、そして10年以上にわたる日本での活動の概要について議論します。

藝大特別講演会・トークイベント

「RYAN GANDER」’Phantom Ambition’
(Art is Cognitive not Retinal)

ライアン・ガンダー「幻影の野望」
(芸術は網膜ではなく認知である）

司会・進行: ホーガン・ジェシー @hogan_jesse_
(准教授)東京芸大絵画科油画第1研究室

開催概要：

日時：2025年 9月 29日（月）17:30 - 19:30
（入場開始17:00 - 17:15）
会場：東京藝術大学上野キャンパス 第1講義室（中央棟）
〒110-8714 東京都台東区上野公園１２−８

主催 (司会・サポート教員)：
ホーガン・ジェシー ・准教授（東京藝術大学 絵画科油画第1研究室）
安部良・准教授（東京藝術大学 建築学科）
灰原千晶・講師 (東京藝術大学 大学院美術研究科 グローバルアートプラクティス専攻) @gap_geidai

協力: 東京藝術大学絵画科油画、建築科、大学院美術研究科グローバルアートプラクティス専攻, TARO NASU, 岡山芸術交流, ポーラ美術館, ライアン・ガンダー スタジオ
@taronasu_tokyo @okayamaartsummit
@polamuseumofart

逐次通訳: 樅山智子 (Art Translators Collective)

グラフィックデザイン: 林頌介
@kohsuke.hayashi

‘Phantom Ambition’ Images:
Courtesy of Ryan Gander Studios
Special Thanks: @em_brysonn

(注: 東京藝術大学への予約は締め切られました) Note:
(Reservations are closed to Tokyo University of the Arts)

#ryangander #artlecture #tokyogeidai
#artiscognitivenotretinal #arttalks

A small one for Vincent…

‘After-Class Painting’ (Van Gogh, Landscape Drawings) 2025, Xerox and hide glue on Linen, Plexiglass frame, 28cm x 32cm

A small one for Vincent…

‘After-Class Painting’ (Van Gogh, Landscape Drawings) 2025, Xerox and hide glue on Linen, Plexiglass frame, 28cm x 32cm

Back of House
@joyful_1laboratory