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Presents

HIROMI ASHLIN

 Carins, Queensland, Australia

at:

COVINGTON

One CityCenter

850 Tenth Street, NW

Washington, DC 20001-4956

 

Covington & Burling LLP is an international law firm with offices in Beijing, Brussels, Dubai, Johannesburg, London, Los Angeles, New York, San Francisco, Seoul, Shanghai, Silicon Valley, and Washington, DC. The firm advises multinational corporations on significant transactional, litigation, regulatory, and public policy matters. Covington & Burling LLP consistently ranks among the top 15 law firms on Vault, and the top 20 on The American Lawyer’s "A-List", based on financial performance, pro bono activity, associate satisfaction, and diversity. It is the largest and most prestigious law firm in Washington, DC.

Our apologies as we prepare the site for the Covington event.

Akano Shindo #1

Date: 2016

Size in: 24 x 30

Size cm: 60 x 76

Medium: Origami

Price: USD $2,150

Framed in US, conservation glass

 

   A "koan" is a paradoxical anecdote or riddle, used in Zen Buddhism to demonstrate the inadequacy of logical reasoning and to provoke enlightenment. The koan, "A Drop of Water", relates the story of a Zen master named Gisan who asked a young student to bring him a pail of water to cool his bath. The student brought the water and, after cooling the bath, threw the left over water on the ground. "You dunce!" the master scolded him, "Why didn't you give the rest of the water to the plants? What right have you to waste even a drop of water in this temple?" The young student attained Zen in that instant. He changed his name to Tekisui, which means a drop of water.

Akano Shindo #2

Date: 2016

Size in: 16 x 20

Size cm: 40 x 52

Medium: Origami

Price: USD $2,150

Framed in US, conservation glass

Same as Akano Shindo #1, but this work is more gentle and positive and speaks of energy and power. Lao Tsu said, “Water is fluid, soft, and yielding. But water will wear away rock, which is rigid and cannot yield. As a rule, whatever is fluid, soft, and yielding will overcome whatever is rigid and hard. This is another paradox: what is soft is strong.”

Shadow Planet #1

Date: 2015

Size in: 18 x 22

Size cm: 46 x 56

Medium: Origami

Price: USD $2,500

Framed in US, conservation glass

In physical cosmology and astronomy, dark energy is a mysterious form of energy which is hypothesized to permeate all of space, tending to accelerate the expansion of the universe. Dark energy is the most accepted hypothesis to explain observations beginning in the 1990s which tend to indicate that the universe is expanding at an accelerating rate.

About this painting Hiromi says, "Using lots of black ink makes dark strong work.  I like to create strong heavy dark energy art piece using totally different material that is fragile and light.  Paper is the best material to do that. "

Shadow Planet #2

Date: 2015

Size in: 18 x 22

Size cm: 46 x 56

Medium: Origami

Price: USD $2,500

Framed in US, conservation glass

Describing her use of paper cranes to constitute the shadow of Dark Energy in the Universe, Hiromi explains the crane element is popularly used in Japanese origami for craft work and by children; however, traditionally, such works are usually colorful.  She goes on to say Planet Shadow # 1 and #2 were enjoyable creative efforts that allowed her to make something new and different from the traditional approach to employing the crane motif.

Shizuku (Rain Drop)

Date: 2015

Size in: 21 x 25

Size cm: 53 x 64

Medium: Origami

Price: USD $2,700

Framed in US, conservation glass

 

"Shizuku" ("Rain Drop") is a striking piece with heavy movement and contrasting colors.  Hiromi sprayed blue paint over a white petal pattern.  She then applied white paint selectively on petal tops.  The background is torn washi paper, glued around the work to create a soft organic look.

Kimono #3

Date: 2015

Size in: 16 x 20

Size cm: 41 x 51

Medium: Origami

Price: USD $1,875

Framed in US, conservation glass

 

In Kimono #3, Hiromi employs traditional Japanese papers (Uzen-washi) to form a geometrical sortie of fifty-three cranes set against a rich, calligraphic design backdrop. In Japan the Kimono motif is very popular with, and familiar to, art lovers.

 

The choice of papers and design layout are characteristic of the classical "old school" Japanese approach to the highly patterned look of silk wedding kimonos.

 

Because the folding of individual origami elements is so time-consuming, Hiromi is one of the few artists in the world capable of employing origami as a painting technique.  Consequently, "origami paintings" are extremely rare, even to Japanese audiences.   According to Hiromi, "Kimono #3" represents her idea of what a person from Japan might typically imagine an "origami artwork in a frame" would look like.

 

Kimono #2

Date: 2015

Size in: 17 x 21

Size cm: 43 x 53

Medium: Origami

Price: USD $1,875

Framed in US, conservation glass

 

A different depiction of "harmony" is addressed in "Kimono #2". This time we see cranes in movement flying westward (to the left).

 

The crane paper used in "Kimono #2" is "Kami", the most widely available origami paper. It was developed for use in schools. The word "Kami" is Japanese for paper, but it has acquired this specific meaning. Kami is thick and easy to fold. It is usually printed only on one side, but not always, and oftentimes it is a solid color or pattern. These patterns can be as simple as a gradation from red to blue, or as complex as a multi-colored kimono pattern of flowers and cranes with gold foil embellishments. Kami comes in several sizes, but standard sizes include 75 x 75 mm (about 3 x 3 inches), 6-inch squares, and 10-inch squares

 

The mounting background for "Kimono #2" is rice paper.

Soragamieru

(I Can See The Sky)

Date: 2013

Size in: 26 x 40

Size cm: 66 x 102

Medium: Origami

Price: USD $4,800

Framed in AU, acrylic

 

"Sorgamieru" was chosen as the Brisbane Finalist at the 2015 Cliftons Art Prize, QLD, an annual competition that helps raise the profiles of local artists and encourages corporate patronage of the arts.

 

The Clifton Art Prize offers international exposure for local artists across Asia Pacific. It is open to emerging and established artists in Australia, New Zealand, Hong Kong and Singapore.

 

Originally starting out as a "play" craft for her daughter at school, Hiromi took the concept to the ultimate artistic end point.  The painting is extremely complex, consisting of a multitude of box origami foldings of various sizes.  The papers were prepared by infusing colors into bubble water and then dropping the colored bubble water on the folding paper, creating beautiful blue patterns on each piece of origami paper.

 

Each of the colored papers were then reverse folded, capturing the pattern inside the box origami.  Hiromi then used lit incense to burn holes into selected box folds revealing the jewel-like blueish, bubbling pattern at the interior of each penetrated box origami.  She likens the effect to gazing inwards and seeing a beautiful blue sky.

Niji to Taiyo

(Rain Meets Sun)

Date: 2013

Size in: 33 x 43

Size cm: 84 x 109

Medium: Origami

Price: USD $4,000

Famed in AU, conservation glass

 

Niji to Taiyo (Rain Meets Sun), and Byakkudan (Sandlewood), demonstrate Hiromi’s growing interest in employing the technique of pyrography in her work.  Hiromi uses incense to create these ornaments, which are both spiritual and artistic in their design and execution. "Niji to Taiyo" and "Byakkudan" are the only two exhibited works executed solely using this special skill.

Byakudan

(Sandalwood)

Date: 2013

Size in: 33 x 43

Size cm: 84 x 109

Medium: Origami

Price: USD $4,000

Framed in US,  conservation glass

 

Niji to Taiyo (Rain Meets Sun), and Byakkudan (Sandlewood), demonstrate Hiromi’s growing interest in employing the technique of pyrography in her work.  Hiromi uses incense to create these ornaments, which are both spiritual and artistic in their design and execution. "Niji to Taiyo" and "Byakkudan" are the only two exhibited works executed solely using this special skill.

Byakudan

(Sandalwood)

Date: 2013

Size in: 33 x 43

Size cm: 84 x 109

Medium: Origami

Price: USD $4,000

Framed in US,  conservation glass

 

Niji to Taiyo (Rain Meets Sun), and Byakkudan (Sandlewood), demonstrate Hiromi’s growing interest in employing the technique of pyrography in her work.  Hiromi uses incense to create these ornaments, which are both spiritual and artistic in their design and execution. "Niji to Taiyo" and "Byakkudan" are the only two exhibited works executed solely using this special skill.

Byakudan

(Sandalwood)

Byakudan

(Sandalwood)

Date: 2013

Size in: 33 x 43

Size cm: 84 x 109

Medium: Origami

Price: USD $4,000

Framed in US,  conservation glass

 

Date: 2013

Size in: 33 x 43

Size cm: 84 x 109

Medium: Origami

Price: USD $4,000

Framed in US,  conservation glass

 

Niji to Taiyo (Rain Meets Sun), and Byakkudan (Sandlewood), demonstrate Hiromi’s growing interest in employing the technique of pyrography in her work.  Hiromi uses incense to create these ornaments, which are both spiritual and artistic in their design and execution. "Niji to Taiyo" and "Byakkudan" are the only two exhibited works executed solely using this special skill.

Niji to Taiyo (Rain Meets Sun), and Byakkudan (Sandlewood), demonstrate Hiromi’s growing interest in employing the technique of pyrography in her work.  Hiromi uses incense to create these ornaments, which are both spiritual and artistic in their design and execution. "Niji to Taiyo" and "Byakkudan" are the only two exhibited works executed solely using this special skill.

Interested in Hiromi?

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