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Sat October 9, 2021

Hiroshi Sato, Running in the '90's

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Marrow Gallery presents Running in the '90's, an exhibition of new works from San Francisco based artist, Hiroshi Sato. This is the artist's third solo show with the gallery and presents a selection of work that focuses on memory and meaning and how these change over time. Sato was born in Japan but raised in Africa by parents whose work for the UN brought them to the other side of the world. In this body of work, there are moments that the artist has chosen to represent that had a significant impact on his life and remain vivid memories; a street seller whom he spoke to in Swahili, hours spent looking at the night sky, laundry drying in the sun. The simplest memories that contribute to our personal narrative are what the artist is referencing, the glimpses of past experience that are triggered by smells, sounds and feelings.

In his process, Sato marries the duality of his life with his formal training. His greatest influences; Diebenkorn, Park, Avery, coalesce with his knowledge of traditional Japanese methods, theories and compositional philosophies. Sato has no preference for either ideology of picture making, therefore they become a tool to further fictionalize the already dubious accuracy of what is being depicted.
Marrow Gallery presents Running in the '90's, an exhibition of new works from San Francisco based artist, Hiroshi Sato. This is the artist's third solo show with the gallery and presents a selection of work that focuses on memory and meaning and how these change over time. Sato was born in Japan but raised in Africa by parents whose work for the UN brought them to the other side of the world. In this body of work, there are moments that the artist has chosen to represent that had a significant impact on his life and remain vivid memories; a street seller whom he spoke to in Swahili, hours spent looking at the night sky, laundry drying in the sun. The simplest memories that contribute to our personal narrative are what the artist is referencing, the glimpses of past experience that are triggered by smells, sounds and feelings.

In his process, Sato marries the duality of his life with his formal training. His greatest influences; Diebenkorn, Park, Avery, coalesce with his knowledge of traditional Japanese methods, theories and compositional philosophies. Sato has no preference for either ideology of picture making, therefore they become a tool to further fictionalize the already dubious accuracy of what is being depicted.
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Gallery, Art

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Marrow Gallery 9 Upcoming Events
548 Irving Street, San Francisco, CA 94122

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