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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

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Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

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Sorayama graduated from Chubi Central Art School in Tokyo in 1969 and first spent some time working with an advertising company. Since 1972 when he became a freelance, he has been a legendary artist armed with his astounding reali metallicity stic techniques. His works of female images, pursuing of robot and eroticism are well known both inside and outside of Japan. This reputation was initially established in 1978 with the work series entitled Sexy Robot, which shocked people throughout the world for his artful depictions of sensual metallic qualities and reflected light. In 1999, he won both the Good Design Grand Prize from the Ministry of Trade and Industry, and the Media Arts Festival Grand Prize from the Agency from Cultural Affairs for his work with Sony on the concept design for their entertainment robot AIBO. In 2001, Sorayama received another prize for this invention, this time from the Asahi newspaper, and in this same year the 1st generation AIBO was added to the permanent collections of the Smithsonian Institute and the Museum of Modern Art. As if that weren´t enough, the internationally famous rock band Aerosmith collaborated with Sorayama on the artwork for the cover of their 2001 album Just Push Play.

Sorayama comments that he hates the word of "art", and he puts himself in the same line with the pioneers of American pin-up illustrators such as George Brown Petty, Gil Elvgren, and Alberto Vargas. "There is no stories in my pictures. The models exist on their own, in a self-determined state of completion. Therefore, I think my work still belongs to the paradigm of pin-up art." - Hajime Sorayama It may be different depending on each person how to associate Sorayama´s image as an artist. If his artisan spirit that seeks to perfect his craft and career is considered, he´s categorized as an illustrator. On the other hand, if he is considered as a pioneer of airbrush technique, a charisma of his robot paintings and of nude portraits, we have a more expansive view of his image. The global art scene is still now continuing to explore the possibilities. 21st century modern art has taken up the challenge of uncovering the relation between art and design, commodities and art, and daily life and beauty. A clear answer has yet to be found, but the existence of Sorayama could possibly provide one of the answers.

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In Related Press

Kaleidoscope magazine presents Asia issue Related Press Kaleidoscope magazine presents Asia issue Kaleidoscope magazine : 12 February 2015

Under the visionary art direction of acclaimed Munich-based Bureau Mirko Borsche, the magazine combines its defining curatorial and interdisciplinary approach with an emphasis on the power of images and a keen attention to the update, as best epitomized by new cover tagline: Visual Culture Now.

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