Text by Edel Assanti for Online solo exhibition

Hidetaka Suzuki’s figurative paintings depict uncanny, transient fragments of everyday life that blur the boundaries between reality and fiction.

Luxuriating in their absence of context and thematic dissociation from one another, his paintings are unified by their soft focus and wistful colour palette.

Suzuki’s paintings are translated from found online images, rendered in a distinct, horizontally vibrating brushwork that assumes a conceptual effect equivalent to pixels on a screen, drawing our attention to the mediation of his subject matter.

The ongoing series of Untitled paintings draws their compositions from AI-generated images, an interest that stems from Suzuki’s professional experience working as a programmer.

These images are treated with equivalence to his other source imagery, which include crops of intimate anonymous family scenes, still lifes and portraits, further frustrating our ability to differentiate between original and copy, truth and fiction.

Informed by the texture and ephemerality of digital images, Suzuki’s works vacillate between the virtual and the resolutely painterly, addressing technology’s capacity for appropriation with art historical modes of reproduction. Stripped of their contexts and cropped beyond recognition, these scenes are suspended between evocations of a before and after, as though severed from a lost sequence residing in someone’s memory, or on an unidentified hard drive.





これらの画像は、匿名で親密な家族の情景や静物、肖像画などを切り取った他の画像と同等に扱われ、オリジナルとコピー、真実と虚構を区別することをさらに拒否している。 デジタル画像の質感と儚さに影響された鈴木の作品は、バーチャルと絵画的なものの間で揺れ動き、テクノロジーの流用能力と美術史的な複製様式に取り組んでいる。



BY Edel Assanti