Arthur HUANG | My Armchair ⁄ 私の肘掛け椅子展

ARTISTS

© Yuri Udagawa

Arthur HUANG

Born in the United States in 1972, Arthur Huang is a molecular biologist and artist, living and working in Tokyo. While engaged in research on brain science, he has been actively producing drawings and collages that examine conscious and unconscious memory in everyday life. Selected exhibitions include Chigasaki City Museum of Art, the Nakanojo Biennale 2017 and 2019, Root Division, Berkeley Art Center, HAGISO, the Spiral Independent Creators Festival, the Setouchi Triennale 2013, and the Austin Museum of Art. He is also the director of the Tokyo-based artist collective, Art Byte Critique, which was established in 2012.

Statement

My studio practice is rooted in memory and everyday activities. Since 2015, I have been making drawings on A5 size paper while traveling on trains, subways, bus, and other modes of transportation. These drawings explore the relationship between everyday life and unconscious memories. These Daily Drawings are abstract, visual diaries of “in between moments” in my daily life.
Since 2017, I have created installations to investigate the possible meanings and relationships between the Daily Drawings. In creating these installations, I ask myself, “What are the meanings of these drawings?”, *What are the factors that influence how these drawings are made?”, “Why were these specific drawings created?*. There are may or may not be answers to these questions, but this is the work I am interested in pursuing.
The pandemic has resulted in limited movements and activities and this change in everyday life has had a big impact on my studio practice. With the state of emergency, I did not use public transportation for the first time since moving to Japan in 2009. I attempted to continue making Daily Drawings while at home, but I could not reproduce the same physical and mental sensations of public transportation. I stopped making Daily Drawings until I began using public transportation again a few months later.


After a long day working in the laboratory, Arthur Huang, a young molecular biologist and neuroscientist, routinely makes drawings.
He creates delicate and organic drawings composed of intricately interlaced lines.
But then his self as a scientist emerges.
‘What was I trying to express?’
He tries to decode the marks and forms on the paper, opening the drawer of memories, and reflecting on the lyrics of songs or the contents of audiobooks that he listened to.
He knows that the drawings are traces of his thoughts, inspiration, and imagination of the moments he left behind.
The artist who skates across the boundaries of art and science, that’s Arthur.

Recommended by ART PLATFORM TOKYO

WORKS

Daily Drawing Reconfiguration - February 2020

Daily Drawing Reconfiguration - February 2020

Ink, Tracing paper

450 x 450 mm

2021

77000 JPY (w/ tax) / 88000 JPY w/ frame (w/ tax)

In preparation for the “My Armchair” group exhibition, I wanted to challenge myself to find my own armchair since I have had challenges in making Daily Drawings in my studio. Instead of working on A5 size paper, I began making larger works while exploring the mark making and visual energy behind my Daily Drawings in the studio.
I have organized my 2020 Daily Drawings into various categories including, but not limited to, date, music, audiobook, and drawing tools. Within these categorized drawings, I look for repeated or interesting motifs and use them to build larger and more complex pieces that the viewer and I can really dive into.
For this series, I am working both with tracing paper and watercolor paper. With the tracing paper, I am able to put the reproductions of the A5 size Daily Drawings underneath the tracing paper to directly reproduce similar marks and motifs. The tracing paper also gives me a direct visualization of how the drawings are developing. With the watercolor paper, I am working free hand and I tend to take more liberties in drawing the motifs that interest me and in expanding upon to make new discoveries in my mark making.
I hope the new works in “My Armchair” allow viewers to escape into another world. I also hope to communicate art's ability to be a vital source of contemplation and expression for the artist and the viewer especially important during times of uncertainty and stress.


Daily Drawing Reconfiguration - Portishead

Daily Drawing Reconfiguration - Portishead

Ink, Tracing paper

450 x 450 mm

2021

77000 JPY (w/ tax) / 88000 JPY w/ frame (w/ tax)

In preparation for the “My Armchair” group exhibition, I wanted to challenge myself to find my own armchair since I have had challenges in making Daily Drawings in my studio. Instead of working on A5 size paper, I began making larger works while exploring the mark making and visual energy behind my Daily Drawings in the studio.
I have organized my 2020 Daily Drawings into various categories including, but not limited to, date, music, audiobook, and drawing tools. Within these categorized drawings, I look for repeated or interesting motifs and use them to build larger and more complex pieces that the viewer and I can really dive into.
For this series, I am working both with tracing paper and watercolor paper. With the tracing paper, I am able to put the reproductions of the A5 size Daily Drawings underneath the tracing paper to directly reproduce similar marks and motifs. The tracing paper also gives me a direct visualization of how the drawings are developing. With the watercolor paper, I am working free hand and I tend to take more liberties in drawing the motifs that interest me and in expanding upon to make new discoveries in my mark making.
I hope the new works in “My Armchair” allow viewers to escape into another world. I also hope to communicate art's ability to be a vital source of contemplation and expression for the artist and the viewer especially important during times of uncertainty and stress.


Daily Drawing Reconfiguration - Superorganism

Daily Drawing Reconfiguration - Superorganism

Ink, Tracing paper

450 x 450 mm

2021

77000 JPY (w/ tax) / 88000 JPY w/ frame (w/ tax)

In preparation for the “My Armchair” group exhibition, I wanted to challenge myself to find my own armchair since I have had challenges in making Daily Drawings in my studio. Instead of working on A5 size paper, I began making larger works while exploring the mark making and visual energy behind my Daily Drawings in the studio.
I have organized my 2020 Daily Drawings into various categories including, but not limited to, date, music, audiobook, and drawing tools. Within these categorized drawings, I look for repeated or interesting motifs and use them to build larger and more complex pieces that the viewer and I can really dive into.
For this series, I am working both with tracing paper and watercolor paper. With the tracing paper, I am able to put the reproductions of the A5 size Daily Drawings underneath the tracing paper to directly reproduce similar marks and motifs. The tracing paper also gives me a direct visualization of how the drawings are developing. With the watercolor paper, I am working free hand and I tend to take more liberties in drawing the motifs that interest me and in expanding upon to make new discoveries in my mark making.
I hope the new works in “My Armchair” allow viewers to escape into another world. I also hope to communicate art's ability to be a vital source of contemplation and expression for the artist and the viewer especially important during times of uncertainty and stress.


Daily Drawing Reconfiguration - January 2020

Daily Drawing Reconfiguration - January 2020

Ink, Watercolor paper

380 x 380 mm

2021

77000 JPY (w/ tax) / 88000 JPY w/ frame (w/ tax)

In preparation for the “My Armchair” group exhibition, I wanted to challenge myself to find my own armchair since I have had challenges in making Daily Drawings in my studio. Instead of working on A5 size paper, I began making larger works while exploring the mark making and visual energy behind my Daily Drawings in the studio.
I have organized my 2020 Daily Drawings into various categories including, but not limited to, date, music, audiobook, and drawing tools. Within these categorized drawings, I look for repeated or interesting motifs and use them to build larger and more complex pieces that the viewer and I can really dive into.
For this series, I am working both with tracing paper and watercolor paper. With the tracing paper, I am able to put the reproductions of the A5 size Daily Drawings underneath the tracing paper to directly reproduce similar marks and motifs. The tracing paper also gives me a direct visualization of how the drawings are developing. With the watercolor paper, I am working free hand and I tend to take more liberties in drawing the motifs that interest me and in expanding upon to make new discoveries in my mark making.
I hope the new works in “My Armchair” allow viewers to escape into another world. I also hope to communicate art's ability to be a vital source of contemplation and expression for the artist and the viewer especially important during times of uncertainty and stress.


Daily Drawing Reconfiguration - Memory Police.Wanderlust #2

Daily Drawing Reconfiguration - Memory Police.Wanderlust #2

Ink, Watercolor paper

380 x 380 mm

2021

77000 JPY (w/ tax) / 88000 JPY w/ frame (w/ tax)

In preparation for the “My Armchair” group exhibition, I wanted to challenge myself to find my own armchair since I have had challenges in making Daily Drawings in my studio. Instead of working on A5 size paper, I began making larger works while exploring the mark making and visual energy behind my Daily Drawings in the studio.
I have organized my 2020 Daily Drawings into various categories including, but not limited to, date, music, audiobook, and drawing tools. Within these categorized drawings, I look for repeated or interesting motifs and use them to build larger and more complex pieces that the viewer and I can really dive into.
For this series, I am working both with tracing paper and watercolor paper. With the tracing paper, I am able to put the reproductions of the A5 size Daily Drawings underneath the tracing paper to directly reproduce similar marks and motifs. The tracing paper also gives me a direct visualization of how the drawings are developing. With the watercolor paper, I am working free hand and I tend to take more liberties in drawing the motifs that interest me and in expanding upon to make new discoveries in my mark making.
I hope the new works in “My Armchair” allow viewers to escape into another world. I also hope to communicate art's ability to be a vital source of contemplation and expression for the artist and the viewer especially important during times of uncertainty and stress.

Inquiry to works

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