Subjectivity into painting
"It dwells within"
Since 2013, I have been researching and creating contemporary paintings based on subjective spatial perception and its representation in the human brain under the theme of "Darstellung der inneren Wirklichkeit- Auseinandersetzung mit subjektiver Wahrnehmung anhand eines mehrdimensionalen Perspektivsystems-" ( "Representation of the inner reality: Subjective Perception and Multilayered Perspective.)
Recent studies have shown that around 80-90% of the information collected by the brain is visual. Even though the human body is structurally the same, people can never perceive the world the same, which has been studied in many fields such as psychology, philosophy and neuroscience. What they show is that we always perceive the world personally and subjectively.
In the long history of painting over the past several thousand years, many painters have faced the problem of how to express the three-dimensional world perceived by humans on a flat two-dimensional surface. In the process from the artist's creation to the viewer's appreciation of the work, the work has undergone two stages of "subjectivity". The first is when the artist perceives the world and expresses it in two dimensions. The second is when the viewer perceives the work. In other words, during this "compression and decompression" process, the work inevitably undergoes changes due to two subjective perceptions, and these changes depend on the "subjective perceptions" of both parties. As the philosopher Kant said, people process the perceived world through subjective filters in their judgement, such as knowledge, experience, emotion and memory, which have a significant impact on subjective perception. .
In this research work I create a spatial representation of the "subjective world" as it is perceived and reconstructed in the brain. In this work, I create multiple layers of transparent material and oil paint on the canvas, combining the characteristic perspective of different periods of Western and Asian art. By layering the motifs in complex front-back relationships, the depth of the image is complicated, expressing the time axis and gaps in perception. In other words, the artist extracts and reconstructs pure perceptual information that has been deconstructed by various elements before being reconstructed in the brain.
As mentioned above, my work exists as a "device" that uses the subjective perception that inherently occurs twice between the artist and the viewer, and aims to allow the viewer to reconstruct the work more freely and subjectively in their brain. In other words, my works are not complete in themselves, but are deconstructed through several filters generated by the viewer's subjectivity, and are only complete when they are reconstructed in the viewer's brain. In this sense, my work is the opposite of Cubism's spatial expression of the world without human, and is a spatial expression that approaches a very inner, human structure.
The dual process between artist and viewer is the origin of the title of my main series, "It dwells within", which embodies the very nature of art.
It dwells within
„Multi-leyered perspective representation of inner reality“
Es weilt im Inneren
„Multi-perspektivische Darstellung der inneren Wirklichkeit“
In his works Masaki Hagino is developing some perspective representations. So he would characterize his subject, entitled „Representation of the sensual reality“. The multi-layered perspective representation does not correspond to the hitherto generally accepted central perspective representation. His idea was inspired by the multi-perspective concept of Cubism and the asian aerial and color perspective. He divides the image space into several layers and relied the depth of the „sliced“ layers as transparent slices over each other on the canvas.
„How can you represent the reality inside you?“. This is an issue on which he is looking for an answer. In his view, people perceive the world often true as through a filter of emotions, prejudices and acquired knowledge. He believes that his work will be completed only when it enters into a bond with the emotions and thoughts of humans.
In this sense, the images serve as a kind of „tool“. In order to realize his concept. He is working currently with paraffin wax. And he initially uses different materials to prime the canvas. Then he covers the entire screen with a plurality of paraffin layers in order to create the impression of a filter. This strengthens as he applies white paint between the individual layers. So it suggests the viewer a certain plasticity with different structures on the canvas.
The painting „Der Wald in mir (The forest inside me)“ presents an almost enchanted-looking landscape; traces of varnished trees are infused by descending hazy mist. Dark-heavy areas allure into the depth of the picture, counteracting with the simultaneously appearance of light-flooded and partly diaphanous elements. The various levels are projected over each other, thus, the image content appears to flicker or to vibrate, interfering with the focus. Due to the selective details shown, it is implied to continue the given forms into the imaginary space outside the painting, in order to be fully surrounded by the mysterious atmosphere.
“It dwells within.” With these words, the Japanese artist, Masaki Hagino, summarizes his artistic intention. „In my view, people perceive the world often true as through a filter of emotions, prejudices and acquired knowledge. I believe that my work will be complete only when they enter into a bond with emotions and thoughts of humans.„
Between each application of paint, he treats his canvas with multiple layers of paraffin wax which interstices are then filled with color. This gives the impression of plasticity and it comes to an accomplished manipulation of overlapping layers. In his opinion, these supposed filters, which dazzle our inner reality, are meant to be challenged and questioned. One should try to approach the mysterious compositions of this series cautiously, hence, it requires calmness and patience to fully engage in the search of personal traces.
He completed B.D. of Graphic Design at Nagoya City University in Japan in 2011. In 2019, he also completed Diploma (MA) of painting at Burg Giebichenstein University of Art in Halle, Germany. He has also participated in several solo, group exhibitions and art fairs worldwide.
In seiner Arbeit entwickelt Masaki Hagino perspektivische Darstellungen in Multi-Ebenen. Damit charakterisiert er sein Thema unter dem Titel „Darstellung der sinnlichen Wirklichkeit“. Die perspektivische Darstellung in Multi-Ebenen entspricht nicht der bisher allgemein anerkannten zentralperspektivischen Darstellung. Die Idee des Künstlers entwickelt sich aus dem Konzept des Kubismus und der asiatischen Luft- und Farbperspektive. Er unterteilt den Bildraum in mehrere Ebenen und setzt dabei die aus der Tiefe „geschnittenen“ Schichten als transparente Scheiben übereinander auf die Leinwand.
„Wie lässt sich im Inneren die Wirklichkeit darstellen?“ Das ist eine Frage, auf die er eine Antwort sucht. Seiner Meinung nach nehmen Menschen die Welt oft wie durch einen Filter aus Gefühlen, Vorurteilen und erworbenem Wissen wahr. Er nimmt an, dass seine Arbeiten erst vollkommen werden, wenn sie eine Verbindung mit den Emotionen und Gedanken der Menschen eingehen.
In diesem Sinne dienen die Bilder gewissermaßen als „Werkzeug“. Um sein Konzept zu realisieren, arbeitet Masaki derzeitig mit Paraffinwachs. Dabei verwendet er zunächst ver-schiedene Materialien, um die Leinwand zu grundieren. Anschließend bedeckt er die gesamte Leinwand mit mehreren Paraffinschichten, um damit den Eindruck eines Filters zu erzeugen. Dieser verstärkt sich, während er weiße Farbe zwi-schen den einzelnen Schichten aufträgt. So können auf der Leinwand verschiedene Strukturen übereinander existieren, welche dem Betrachter eine gewisse Plastizität suggerieren.
„Der Wald in mir“ eröffnet sich dem Betrachter eine geradezu verwunschen anmutende Landschaft - Spuren von lasierten Baumstämmen werden von dunstigen Nebelschwaden durch-zogen. Dunkelschwere Bereiche ziehen in die Tiefe des Bildes hinein, dem wird gleichzeitig durch lichtdurchflutete und teilweise poröse Partien entgegengewirkt. Verschiedene Ebenen werden aufeinander projiziert, somit scheint der Bildinhalt zu flackern oder zu vibrieren und kann nicht eindeutig festgemacht werden. Der gewählte Bildausschnitt lädt außerdem dazu ein, die Formen noch weiter in den Raum zu denken, um sich von der mysteriösen Atmosphäre einschließen zu lassen.
„Es weilt im Inneren.“ Mit diesen Worten fasst der japanische Künstler Masaki Hagino seine Intention zusammen. „Aus meiner Sicht nehmen Menschen die Welt oft wie durch einen Filter aus Gefühlen, Vorurteilen und erworbenem Wissen wahr. Ich glaube, dass meine Arbeiten erst vollkommen werden, wenn sie eine Verbindung mit den Emotionen und Gedanken der Menschen eingehen.“
Er bearbeitet seine Leinwand zwischen jedem Farbauftrag mit mehreren Schichten Paraffinwachs, dessen Zwischenräume sich dann mit Farbe füllen. Dadurch entsteht der Eindruck von Plastizität und kommt zu einem versierten Spiel mit sich überlagernden Schichten, eben jener angenommenen Filter, die der inneren Wirklichkeit vorgeblendet sind und die es seiner Meinung nach zu hinterfragen gilt. Man sollte sich den geheimnisvollen Kompositionen dieser Serie behutsam nähern, denn es erfordert Ruhe und Geduld, sich auf die innere Spurensuche einzulassen.
Er beendete im 2011 sein Bachelorstudium für Grafik-Design an der Städtischen Universität Nagoya in Japan. Im 2019 beendete er Diplom an der Burg Giebichenstein Kunsthochschule Halle im Fachbereich Malerei. Ihm wurden bereits einige Einzelausstellung gewidmet und er nahm an diversen Gruppenausstellungen und Kunstmessen weltweit teil.