25ht Vanishing & Emerging P32-E, Hideo Tanaka, paper and burnt steel wire, 8” x 11.5” x 10”, 1995, $3,200
26ht Vanishing & Emerging P32-D, Hideo Tanaka, paper and burnt steel wire, 8” x 11.5” x 10”, 1995, $2,600
17ht Vanishing & Emerging P32-1, Hideo Tanaka, paper and burnt steel wire, 24” x 4-5” (d) , 1995, $2,600
17ht Vanishing and Emerging 2011, Hideho Tanaka, paper, 80" x 310.63", 2011, $18,000
16ht Vanaishing and Emerging Wall, Hideho Tanaka, paper, 87” x 102” x 11”, 2009, $18,000
5ht Vanishing 2, Hideho Tanaka, stainless steel and paper, 7.5" x 7.25" x 7.75", 1990, Sold
1ht Vanishing I, Hideho Tanaka, stainless steel, sisal, fiber, paper, cotton cloth, 27" x 5" x 9", 1998, $950
2ht Vanishing II, Hideho Tanaka, stainless steel, sisal, fiber, paper, cotton cloth, 8" x 25.5" x 4", 1998, $950
3ht Vanishing, Hideho Tanaka, hemp cloth and stainless steel, 10" x 8" x 7", 1999, $1,900
Selected collections and exhibition venues:
Metropolitan Museum of Art, Tokyo, Japan; Hara Museum of Contemporary Art, Tokyo, Japan; Metropolitan Museum of Manila, Philippines; Museum of Arts and Design, New York, New York (permanent collection); Karuizawa Takanawa Museum, Japan; Erie Art Museum, Pennsylvania (The Tactile Vessel, curated by Jack Lenor Larsen, traveling exhibition, catalog, permanent collection); Abasiri Art Museum, Hokkaido, Japan; LongHouse Reserve, East Hampton, New York (permanent collection); Musashino Art University Museum and Library, Tokyo, Japan (Hideho Tanaka Retrospective: Vanishing and Emerging, catalog); Central Museum of Textiles, ?ódz´, Poland (4th International Triennial of Tapestry); Banff Art Centre, Canada; Lausanne, Switzerland (12th International Biennial of Tapestry); Tama Art University Museum, Tokyo, Japan; Japan Society, New York, New York; Design Museum, Helsinki, Finland; Gjethuset Museum, Frederiks-værk, Denmark; San Francisco Museum of Craft and Folk Art, California (Fiber Futures: Japan’s Textile Pioneers, traveling exhibition, catalog); Singapore Art Museum (Beyond the Surface-Japanese Style of Making Things); Paeksong Memorial Hall, Seoul, Korea (Fiber Art); Wakayama Art Museum, Japan (Progressive Craft); Musée Jean Lurçat et de la Tapisserie Contemporaine, Angers, France and Germany Textile Museum, Krefeld (Asia-Europe II); The Museum of Contemporary Art of Morelia, Mexico.
6ht Vanishing 3<, Hideho Tanaka, stainless steel, wood and paper, 7" x 5.5" x 10" 1997, $800
I express the relation in all things in nature with SOJO, SOKOKU from the old days. One SOJO is MOKUSHOKA (Fire is born from Wood) • KASHODO (Land is born from Fire) • DOSHOKIN (Metal is born from Fire) • KINSHOSUl (Water is born from Metal) • SUISHOMOKU. (Wood is born from Water) • SOKOKU is MOKOKUDO (Wood fights Land) • DOKOKUSUl (Land fights Water) • SUIKOKUKA (Water fights Fire) • KAKOKUKIN. (Fire fights Water) • KINKOKUMOKU (Metal fights Wood). These things express the deep meaning in the domain of creation.
When I look back on the activities that influenced me as a young man, I realize that I sought immortality in free expression. But I came to have doubts about everlastingness. There are differences between the material and the existing environment. I will certainly be extinct someday, which is part of the cycle of life, and this realization changed my interests.
I understand now that objects are born from man-kind are to meet the last moment in the future. In order to achieve this expression I usually use fire. I discovered this use of fire at Hamamatsu Open Air Exhibition in 1984. The resulting work was titled was Scorched Earth. I had many accidents on the beach but I discovered many creative ideas. Fiber material is very convenient and easy to use to make plastic art. Anybody is able to express himself or herself with art and feel freedom. My aim in the future is to connect language to form and body.