Hamu Isenのすべての作品
FOOT PAINTING • 13作品
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"FOOT PAINTING" is a practice in which paint is applied to a support using the soles of the feet. By [...]
"FOOT PAINTING" is a practice in which paint is applied to a support using the soles of the feet. By employing the soles—parts of the body closest to the ground and usually outside of conscious awareness—I attempt to manipulate bodily signs and express through the medium of their traces.
These traces may clearly retain the imprint of the foot, or remain ambiguous and blurred. Rather than presenting the body itself, I reveal its presence obliquely through the use of its residual marks. This structure resonates with my other series, such as Eyes in Loops, where motifs like ribbons, mouths, and shadows operate within the threshold between visibility and concealment.
"FOOT PAINTING" also acts as a trace of time. In the moment when the foot touches the surface—when pressure is applied, the body shifts, and pigment seeps into the material—a singular, unrepeatable event occurs. The motion halts, and the trace becomes a record of time. Through these gestures, I seek to make visible the way the body encounters and leaves behind time itself.
The process is not one of vigorous movement but of controlled arrangement. I avoid twisting or leaping, instead maintaining a calm, balanced step. At the root of this lies a practical embodiment of an Eastern attitude toward the body: the idea that only a composed body, one that is internally aligned and externally open, can most sensitively engage with the world. Rather than acting from willful assertion, the body places points of contact through minimal movement—a form of quiet communion with chaos, a kind of ritual or passageway.
This series also incorporates textual signs, such as cocktail recipes or the names of planets. These characters do not function to communicate meaning, but instead serve as spatial-temporal noise, accompanying the traces and adding an unsettling rhythm or order to the space.
While "FOOT PAINTING" remains a temporary format, it acts—like Hidden Gesture and Eyes in Loops—as a medium that traverses themes of consciousness and the unconscious, body and sign, chaos and structure, and time itself. I borrow forms and layer their traces in order to tentatively shape a quiet mode of being.
These traces may clearly retain the imprint of the foot, or remain ambiguous and blurred. Rather than presenting the body itself, I reveal its presence obliquely through the use of its residual marks. This structure resonates with my other series, such as Eyes in Loops, where motifs like ribbons, mouths, and shadows operate within the threshold between visibility and concealment.
"FOOT PAINTING" also acts as a trace of time. In the moment when the foot touches the surface—when pressure is applied, the body shifts, and pigment seeps into the material—a singular, unrepeatable event occurs. The motion halts, and the trace becomes a record of time. Through these gestures, I seek to make visible the way the body encounters and leaves behind time itself.
The process is not one of vigorous movement but of controlled arrangement. I avoid twisting or leaping, instead maintaining a calm, balanced step. At the root of this lies a practical embodiment of an Eastern attitude toward the body: the idea that only a composed body, one that is internally aligned and externally open, can most sensitively engage with the world. Rather than acting from willful assertion, the body places points of contact through minimal movement—a form of quiet communion with chaos, a kind of ritual or passageway.
This series also incorporates textual signs, such as cocktail recipes or the names of planets. These characters do not function to communicate meaning, but instead serve as spatial-temporal noise, accompanying the traces and adding an unsettling rhythm or order to the space.
While "FOOT PAINTING" remains a temporary format, it acts—like Hidden Gesture and Eyes in Loops—as a medium that traverses themes of consciousness and the unconscious, body and sign, chaos and structure, and time itself. I borrow forms and layer their traces in order to tentatively shape a quiet mode of being.
Eyes In Loops • 14作品
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Eyes in Loops is a series that borrows the form of symbols to reexamine how we perceive and the culturally [...]
Eyes in Loops is a series that borrows the form of symbols to reexamine how we perceive and the culturally constructed meanings of the “face.” Ribbons, often seen as symbols of cuteness or decoration, take on a different role when tied across the face—becoming almost like blindfolds that create a distance or dislocation between seeing and being seen. This very dislocation reflects the wavering of my own gaze and forms a circular relationship between the inner self and the external world—what I call Eyes in Loops.
The characters in the series often possess a sense of anonymity, and the relationship between the observer and the observed is absorbed into a looping structure. The ribbon-like lines appear as visual links between the eyes and the mouth, suggesting a space where sensation and speech, observation and expression, intersect. The shape of the ribbon resembles the infinity symbol (∞), hinting at an endless circulation of vision and language.
Starting from a sense of visual discomfort, the work gradually connects to psychological and linguistic themes. When “seeing” and “speaking” are tied together by a single ribbon, a circuit of meaning emerges—one that transcends mere decoration and quietly unsettles our perception.
The characters in the series often possess a sense of anonymity, and the relationship between the observer and the observed is absorbed into a looping structure. The ribbon-like lines appear as visual links between the eyes and the mouth, suggesting a space where sensation and speech, observation and expression, intersect. The shape of the ribbon resembles the infinity symbol (∞), hinting at an endless circulation of vision and language.
Starting from a sense of visual discomfort, the work gradually connects to psychological and linguistic themes. When “seeing” and “speaking” are tied together by a single ribbon, a circuit of meaning emerges—one that transcends mere decoration and quietly unsettles our perception.
Frameworks • 5作品
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This series consists of works that combine painting and frame-like sculptures. The painting portion [...]
This series consists of works that combine painting and frame-like sculptures. The painting portion is created using acrylic paint on canvas, with quick brushstrokes driven by spontaneous gestures. This approach allows for the immediate expression of energy and movement.
The frame-like sculptures that are intuitively attached on top of the paintings are created using the technique from my "Hidden Gesture" series. In this technique, acrylic paint is mixed with clay to add viscosity, and the material is applied onto the support. Afterward, the surface is shaved to reveal the undulating texture of the paint. The frame, made from wood typically used as structural beams in walls, carries traces of cuts from other shapes. While traditionally a frame would surround a painting, this one intentionally deviates from that role, creating a sense of structural instability.
What I am consciously aware of in these works are the connections between invisible things, such as constellations and neuronal networks. These connections can be both regular and unpredictable, yet each has a powerful presence in its own right. This series offers a new perspective to the viewer by uniting the painting and the frame, creating a visual connection while the form deviates, thus evoking a fresh sense of perception.
The frame-like sculptures that are intuitively attached on top of the paintings are created using the technique from my "Hidden Gesture" series. In this technique, acrylic paint is mixed with clay to add viscosity, and the material is applied onto the support. Afterward, the surface is shaved to reveal the undulating texture of the paint. The frame, made from wood typically used as structural beams in walls, carries traces of cuts from other shapes. While traditionally a frame would surround a painting, this one intentionally deviates from that role, creating a sense of structural instability.
What I am consciously aware of in these works are the connections between invisible things, such as constellations and neuronal networks. These connections can be both regular and unpredictable, yet each has a powerful presence in its own right. This series offers a new perspective to the viewer by uniting the painting and the frame, creating a visual connection while the form deviates, thus evoking a fresh sense of perception.
Shoe shaped sculpture • 8作品
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The "Shoe Shaped Sculpture" is a series of three-dimensional works shaped like shoes, crystallizing [...]
The "Shoe Shaped Sculpture" is a series of three-dimensional works shaped like shoes, crystallizing both the physicality and traces of my creative process, as well as the philosophy of “grounding oneself,” in both material and symbolic forms.
The material used is a special pigment made from a mixture of clay and acrylic paint, which I apply by pressing it with my fingertips. After it dries, I scrape the surface. In this process, the gesture made by my fingers is initially buried but gradually resurfaces. The traces are not a result of a clear intention, but emerge as a response between the material and the body.
The form of the shoe is not that of the foot itself, but a symbol of actions and relationships such as “walking,” “leaving traces,” and “the absence of others.” In this sense, my "Shoe Shaped Sculpture" does not expose the body’s presence, but rather hints at the body’s location through the intermediary of traces.
Additionally, in this series, the energy of the gesture is suppressed by the viscosity of the pigment, and the fleeting motion becomes embedded as layers of time. This is a collaborative process between the body and the material through “slow gestures,” distinct from action painting, and is a continuation of my practice in the "Hidden Gesture" series.
The "shoe shape" is not merely a motif but a symbol of the point where the body’s extremities touch the world. At the same time, it represents the traces left by others and also serves as my own inner map. In my works, the shoe shape repeatedly appears as a symbol of a presence that oscillates between the “individual” and the “collective.”
The material used is a special pigment made from a mixture of clay and acrylic paint, which I apply by pressing it with my fingertips. After it dries, I scrape the surface. In this process, the gesture made by my fingers is initially buried but gradually resurfaces. The traces are not a result of a clear intention, but emerge as a response between the material and the body.
The form of the shoe is not that of the foot itself, but a symbol of actions and relationships such as “walking,” “leaving traces,” and “the absence of others.” In this sense, my "Shoe Shaped Sculpture" does not expose the body’s presence, but rather hints at the body’s location through the intermediary of traces.
Additionally, in this series, the energy of the gesture is suppressed by the viscosity of the pigment, and the fleeting motion becomes embedded as layers of time. This is a collaborative process between the body and the material through “slow gestures,” distinct from action painting, and is a continuation of my practice in the "Hidden Gesture" series.
The "shoe shape" is not merely a motif but a symbol of the point where the body’s extremities touch the world. At the same time, it represents the traces left by others and also serves as my own inner map. In my works, the shoe shape repeatedly appears as a symbol of a presence that oscillates between the “individual” and the “collective.”
Hidden Gesture • 7作品
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Each time I “initiate” an action in my work, I simultaneously feel as though I am being “activated.” [...]
Each time I “initiate” an action in my work, I simultaneously feel as though I am being “activated.” While it may appear that I am imposing something onto the material, in truth, it is often the nature of the material itself, the passage of time, or the landscapes and memories within me that awaken the act. My practice always begins within this reciprocal interaction.
In the Hidden Gesture series, I apply a mixture of clay and either acrylic or oil paint onto wooden panels by hand, and then, once dry, I plane or chisel the surface flat. Rather than painting an image, I prioritize touching. Through this tactile negotiation between surface and depth, forms that seem to possess an otherness beyond my intention often emerge. This technique is also applied in my three-dimensional works such as the Shoe Shaped Sculpture and Wall Sculpture. How this technique may evolve in the future is something even I do not yet know.
The swells and traces that appear on the surface resemble maps to me—not representations of the world, but haptic records of how the body has interacted with time and matter. I grew up watching my father, a carpenter, at work. The process of flattening the ground, laying foundations, and raising pillars—the story before a building rises—remains vivid in my memory. The act of leveling uneven earth and gradually constructing a form from it resonates deeply with this series.
Through these acts, I confront my own métier. Not merely a matter of technique or style, métier is the ongoing inquiry into what it means to create in a way that is truly one’s own. Rather than aiming for visual consistency, I see it as a matter of sensitivity—how I ground myself and relate to the world.
Hidden Gesture is an attempt to quietly evoke movements and responses that resist surface expression. The topography born from time, material, and body only becomes visible through the act of carving. In this space, I am not simply expressing—I am encountering.
In the Hidden Gesture series, I apply a mixture of clay and either acrylic or oil paint onto wooden panels by hand, and then, once dry, I plane or chisel the surface flat. Rather than painting an image, I prioritize touching. Through this tactile negotiation between surface and depth, forms that seem to possess an otherness beyond my intention often emerge. This technique is also applied in my three-dimensional works such as the Shoe Shaped Sculpture and Wall Sculpture. How this technique may evolve in the future is something even I do not yet know.
The swells and traces that appear on the surface resemble maps to me—not representations of the world, but haptic records of how the body has interacted with time and matter. I grew up watching my father, a carpenter, at work. The process of flattening the ground, laying foundations, and raising pillars—the story before a building rises—remains vivid in my memory. The act of leveling uneven earth and gradually constructing a form from it resonates deeply with this series.
Through these acts, I confront my own métier. Not merely a matter of technique or style, métier is the ongoing inquiry into what it means to create in a way that is truly one’s own. Rather than aiming for visual consistency, I see it as a matter of sensitivity—how I ground myself and relate to the world.
Hidden Gesture is an attempt to quietly evoke movements and responses that resist surface expression. The topography born from time, material, and body only becomes visible through the act of carving. In this space, I am not simply expressing—I am encountering.
認識
受賞歴
アーティストは賞と賞を受賞しています
アーティストは賞と賞を受賞しています
メディア掲載
アーティストがメディア、ラジオ、テレビのプレスに掲載されている
アーティストがメディア、ラジオ、テレビのプレスに掲載されている
アートフェアで発表
アーティストはアートショーやフェアに参加します
アーティストはアートショーやフェアに参加します
プロのアーティスト
主な活動としてアーティストの職業を行使する
主な活動としてアーティストの職業を行使する
バイオグラフィー
I am an artist who works with signs as my material. Motifs such as soles of the feet, shoe shapes, ribbons, and language appear repeatedly in my work, functioning as "signs" embedded within layers of personal memory and cultural sediment. Among them, footprints hold a particularly significant position—not merely as bodily traces, but as signs that embody actions, time, and meaning. They carry information such as “who,” “how,” and “in which direction” someone existed, serving as symbols that evoke culture, memory, and narrative. I treat them as sign-based points of contact that visualize the invisible.
My interest lies in the process through which signs become present via bodily acts, connect with materiality, and are restructured as meaning. For example, the act of writing letters with the trace of a foot reconstructs abstract language into something material and improvised—a “point of contact” where meaning blurs and begins to sprout anew. In works like the shoe shaped sculpture and parts of the Hidden Gesture series, I often use grid paper to plan forms prior to production, basing compositions on balanced ratios such as 5×7 (silver ratio) and 5×8 (golden ratio). Rather than relying solely on physical gestures, I aim for a coexistence of chance and structure by grounding my work in invisible orders.
For me, signs are not static entities but living structures within movement and relationships. Motifs such as shoe shapes or ribbons are not mere symbols; they function as devices that mediate between body and society, self and collective, past and future. My practice is a conceptual endeavor that explores the in-between of visible and invisible, thought and sensation, chaos and order through signs. Rather than reconciling opposing forces such as East and West, my work dwells within their tension.
The forms that appear in my work are never ends in themselves—they are always temporary borrowings used to mediate the questions that arise within me. Figurative and abstract, painting and sculpture, bodily traces and symbolic ribbons—all are chosen for their mediating potential and eventually recede. I create at the intersection of intuition and concept. My selection of forms and gestures is neither dictated solely by intellect, nor overwhelmed by sensation. Rather, I aim to remain within a state of "mediation" in all such acts.
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国籍:
日本
- 生年月日 : 1982
- 芸術的ドメイン： プロのアーティストによる作品,
- グループ： プロのアーティスト 現代日本のアーティスト
継続と今後のアートイベント
まだデータがありません
影響
教育
2006 - 2009
Musashino Art University Correspondence Course
Tokyo,
Bachelor of Fine Arts,
日本
2001 - 2004
Sokei Academy of Fine Arts
Tokyo,
Associate degree,
日本
認定されたアーティスト値
まだデータがありません
実績
賞品と賞
2023
London International Creative Competition / Official Selection
London,
London,
イギリス
2022
London International Creative Competition / Official Selection
London,
London,
イギリス
2021
London International Creative Competition / Shortlist
London,
London,
イギリス
2010
Geisai Taiwan＃2 Yoshitomo Nara Award
Taipei,
Taipei,
台湾
居住地
2012
Point B Work Lodge
Brooklyn,
NY,
アメリカ合衆国
個展
2024
Solo Exhibition
JInbo-cho,
Tokyo,
日本
2023
Solo Exhibition
JInbo-cho,
Tokyo,
日本
2022
Solo Exhibition
JInbo-cho,
Tokyo,
日本
2021
Solo Exhibition
JInbo-cho,
Tokyo,
日本
2020
Solo Exhibition
JInbo-cho,
Tokyo,
日本
ArtMajeurでの活動
最終更新日： 2025/08/08
(2024以来のメンバー)
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Hamu Isenによるアートワークがお気に入りのコレクションに追加されました： 13
最新ニュース
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2025/04/28を追加しました
2025/04/16を追加しました
Hamu Isen solo exhibition
:Inside the Planets, Now" 2024.04.27-05.06 art gallery & Legion
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