Future Déjà Vu: Japan

True to form, Yasuomi Hashimura is always searching for something unique; a new approach, something previously unseen, some new information to bring forth into the world to both excite the viewer and to challenge himself. When Hashimura first started exploring the methods and concepts that would make up his globe-spanning Future Déjà Vu series, it was out of a sort of inner restlessness. The act of making a print, the print as final form of image, was not satisfying enough for Hashimura. It struck him; instead of submerging the paper in chemicals to develop the image, what if he brought the chemical up to meet the paper? What if he used the very act of chemical reaction itself as a medium? Hashimura began to apply chemicals onto the photographic paper with a brush. In this way he began to paint the images into existence, revealing what was already there underneath, through gesture and considered expression. “Technical knowledge is not enough. One must transcend techniques so that the art becomes an artless art, growing out of the unconscious.” -- Daisetsu.T. Suzuki

With this approach Hashimura had gotten halfway there. He had this new mode of image production, yet something was still missing. Hashimura wanted to create something more immediate; an object, or possibly an artifact. Hashimura began to treat the paper, tearing its edges to reveal frayed layers and textures once buried. Additionally, Hashimura used a series of brushes to to create depth with gestural marks. Finally, he had what he was looking for: a photograph as painting, as sculptural object; all in one. It also marks a sort of “return to the source”, or homecoming for Hashimura. He never consciously set out to harness aspects from his heritage while bringing these pieces to life. It was only in retrospect, after the fact, when people started mentioning phrases like wabi-sabi and sumi-e to him that the subconscious connection was made. There is an undeniable Zen atmosphere to the work of Hashimura, after all, he deals with subjects of time and transience constantly. The sumi-e aspect of the work then becomes apparent in how Hashimura applies his brush. By transmuting photography into the three dimensional realm, Hashimura had been reaching back into his own cultural history to an ancient artistic mode. As a result, he has brought forth a new form of sumi-e.
  Here we see public spaces, Zen Buddhist temples and abstracted shapes all suspended in sublime clouds of ammonium thiosulfate staining. Hashimura is a master at showing us time from unorthodox angles and thus broadening our understanding of reality. Future Déjà Vu: Japan is a commentary on how culture, people and art change over time. Here, photography becomes sculpture, architecture becomes document, Japanese Ink-Painting becomes modernized and Hashimura’s own history sits fully revealed for all to see.


Still Life: Movement
Still Life: Conceptual
Still Life: Time
Memory Fragments: New York
Memory Fragments: Tokyo
Native Americans
On Burma
Future deja vu: Japan
Future Déjà Vu: Japan
Future deja vu: Rome
Future Déjà Vu: Rome
Future deja vu:  Paris
Future Déjà Vu: Paris
One Day繝サSome Place
One Day, Some Place