A Day in New York

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I have four hands, 2005 Gelatin Silver Print © Feng Lu
Floating Island, 2006 Archival Inkjet Print © Max Fujishima
Reflection-1, 2012 Archival Inkjet Print © Kazuko Hyakuda
BEAU's hands, 2013 Archival Inkjet Print © Hugh Burckhardt
Nobember 28th, 11:48, 2008, 2010 Archival Digital C Print On Canvas © Izumi Tokuno
A Day in New York
Curated by: Kazuko Uchida

80 Maiden Lane
14th Floor,
New York
NY 10038

August 5th, 2013 - December 20th, 2013
Opening: August 8th, 2013 6:00 PM - 8:00 PM

Gallery: Mon - Fri, 11AM - 6PM
photography, mixed-media



A Day in New York is a photo exhibition of New York-based five artists with their particular series: Max Fujishima (Wish You Were Here), Izumi Tokuno (Blue Wave), Feng Lu (Street Corner), Hugh Burckhardt (Close Encounters), and Kazuko Hyakuda (Reflections). The artists express everyday scenes captured in the City, showing chaotic, accidental, humorous, bittersweet, and, what we love most, dynamic and exciting days of New York.

Wish You Were Here: Max Fujishima is fascinated by motion—a breeze skimming the top of a field or waves surging through an ocean; clouds forming and dispersing overhead as shadows a-foot change hour by hour, affected by both sun and moon. He says that time is motion—it cannot be stopped—and we are all a part of it, and that we must endure moments in time that are difficult and challenging, knowing that another moment will follow and it will bring relief and encouragement. These are the moments that Max searches for in his work. His connection with time is his entry point to the universe. Max's creative workplace is anywhere in the world that he finds himself. He feels the moment. By capturing its beauty and motion with the release of his shutter, he is able to share the moment with others. The spectrum of his photographs will evoke all of one's emotions.

Blue Wave: Since she moved to Roosevelt Island, Izumi Tokuno has captured the Island’s blue essence as her everyday sketch of life. Her awareness of the balance of nature grows on her works, showing sublimated isolation already away from the Island and beyond the East River. Her perception of complex nature invites the viewer to reflect oneself in her Blue Wave. Each image is dated as a title so that the viewer can recall a particular day in their lives and imagine their own world creatively. Each image insists a framework of the passage of time, which is what Tokuno sees nature as a steady pulse.

Street Corner: Feng Lu, like a hunter, gathers objects throughout the City. He enjoys juxtaposing different objects and watching for the point of collision, at which point a third objects is born, and at this point is where the interest lives. In his case, the street photography is like boxing as the strongest one is the best one. He believes that street photography is best documented through the use of traditional film. The simple black and white contrast often creates a more intense picture. He has worked on films in the USA, Japan, and China. His ten years of artwork collections include Subway, Telephone, The corner of New York, and West, East.

Close Encounters: Hugh Burckhardt has been photographing the ever-changing streets of New York City steadily for about four years. He photographs almost everyone from the locals to the police and to the EMT (Emergency Medical Technician). Everything that happens through his camera is raw, unplanned, unpredictable, and sometimes can get dangerous. He has had three group shows at Gallery Onetwentyeight in November 2010, December 2010, and May 2013, as well as a solo show at the Center for Remembering and Sharing in October 2010.

Reflections: Kazuko Hyakuda, in photography and then printmaking, focuses on women in actuality and on women appearing in advertisements, from which she reads their psychological aspects including mental suffering and subconscious desire grown in urban areas. Another motifs of her works are abstract patterns reflected in water surfaces and in architectural materials such as huge window glasses, steel doors, and shiny wall stones. She interprets that these reflections composed of nature and artificiality in the metropolis portray women’s complex mode of life, that is, instantaneous beauty of ambiguity and absurdity.