Jacob Hashimoto at Patricia Faure - Brief Article

A glorious succeeding part to Jacob Hashimoto's stunning first appearance show here in late 1998 this pair of installations affirmed the elegance and refinement of the young L.A. artist's sensibility. His works are quiet spectacles, simply on the other hand carefully crafted and exquisitely attuned to the one and the other the scale of the material part and the dimensions of the spaces they occupy

In the earlier present to view Hashimoto created a room-sized, cascading canopy of small kites. Fashioned without of bamboo rods, string and sprout prints of sky and hazes on vellum, roughly 3,000 of the rectangular kites hung from the ceiling in densely aligned files that draped from a height of 20 feet down to the loam in a staggered diagonal. Calligraphic shadows shimmered upon the walls as the kites swayed, the motion of viewers around them sending a lenient wavelike pulse through their ranks.

The transcendent faculty of perception of weightlessness induced by that untitled work recurr in the sum of two units new installations, Crunch and satellite Pie. Breathtaking as they were, they were also, in a marvelous way, breath-giving. The buoyancy and lightness of the installations strike one as beinged to fill the lungs, to cheer and exhilarate the spirit.

Crunch nestl in individual corner, a 16-foot-high column of r paper rectangles, high hilled again, like kites on slim bamboo slender stems and suspended in staggered vertical ranks with indigo string. An evanescent, subtly shifting, three-dimensional mosaic, the piece was as ravishing as it was simple and reductive. For satellite Pie, Hashimoto again fashioned small kites from paper and bamboo slender stems but hung them in a cascading, receding wedge, thus that the rows were widest and highest toward the center of the gallery, dropping not on from there and receding until they reached the room's back corner. From the forehead the slightly fluttering wall of lunar-white shapes (hexagons and their quota angular hourglasses) suggested a rising wave of butterflies or hovering, shimmering petals. From the opposite side, in the narrow space between the installation and the gallery's back wall, the view shifted radically--from the floating shapes to the strings holding them up from music to its mechanism. As in the 1998 installation, this view called to mind the inside of a piano, its precise, tangible constitution as elegant as the ephemeral beauty of the unimpaired emanating from it.

While Hashimoto's work has the evanescent neighborhood of a mirage, its materiality is substantial. These installations were born of the meditational regular [i]or[/i] melodious movement of repetitive handwork: tying, knotting and gluing. That intensive proces produc a buoyancy--in the hanging forms themselves, in the material substance and soul of the viewer--that was astonishing.

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