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Backstage

May 2026

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I created this work by drawing the inspiration from the flowing patterns of glaze found on Heian and Kamakura-period ceramics—part of this museum's collection—and reinterpreting them in the form of a waterfall; my aim was to demonstrate a Japanese aesthetic sensibility that transcends time and space, to be experienced by viewing the piece in juxtaposition with the museum's historical collection.

I created this work by drawing the inspiration from the flowing patterns of glaze found on Heian and Kamakura-period ceramics—part of this museum's collection—and reinterpreting them in the form of a waterfall; my aim was to demonstrate a Japanese aesthetic sensibility that transcends time and space, to be experienced by viewing the piece in juxtaposition with the museum's historical collection.

The Smithsonian National Museum of Asian Art is known for its extensive collection of works by Hokusai. The form of the central waterfall featured here was specifically conceived and created, drawing inspiration directly from Hokusai’s own depictions of waterfalls. Furthermore, the blue used in the background—a shade closely resembling the "Berlin Blue" (Prussian blue) pigment that had arrived in Japan from overseas during Hokusai’s era—was achieved by blending natural pigments. I can only imagine how magnificent it would look if displayed side-by-side with Hokusai’s paintings; indeed, I hope that one day this vision might be realized within the museum’s permanent collection.

The Smithsonian National Museum of Asian Art is known for its extensive collection of works by Hokusai. The form of the central waterfall featured here was specifically conceived and created, drawing inspiration directly from Hokusai’s own depictions of waterfalls. Furthermore, the blue used in the background—a shade closely resembling the "Berlin Blue" (Prussian blue) pigment that had arrived in Japan from overseas during Hokusai’s era—was achieved by blending natural pigments. I can only imagine how magnificent it would look if displayed side-by-side with Hokusai’s paintings; indeed, I hope that one day this vision might be realized within the museum’s permanent collection.

This is a commentary on the artworks provided by the museum curator at the exhibition venue. It explores the connections between these pieces and the works of Hokusai. The sense of beauty and mystery found in the way water flows—driven by the force of gravity—is not a sentiment that originated with me; rather, represents an aesthetic sensibility that has been reiterated and became timeless throughout the long history of Japan

This is a commentary on the artworks provided by the museum curator at the exhibition venue. It explores the connections between these pieces and the works of Hokusai. The sense of beauty and mystery found in the way water flows—driven by the force of gravity—is not a sentiment that originated with me; rather, represents an aesthetic sensibility that has been reiterated and became timeless throughout the long history of Japan

A Talk event was held with Dr. Frank Feltens, Curator of Japanese Art at the Smithsonian National Museum of Asian Art with Ms. Shiori Okazaki, a Washington, D.C.-based interpreter. My sincere thanks go to her for such a superb job. During our conversation, I expressed my view that the contemporary era is far too complex to simply divide the world into two distinct spheres—the West and the East. I also shared my hope that the audience would perceive my work as a journey that begins in the East but ultimately gives rise to a universal consciousness—one that transcends the boundaries of East and West—embodied in the realization that "gravity is beautiful."

A Talk event was held with Dr. Frank Feltens, Curator of Japanese Art at the Smithsonian National Museum of Asian Art with Ms. Shiori Okazaki, a Washington, D.C.-based interpreter. My sincere thanks go to her for such a superb job. During our conversation, I expressed my view that the contemporary era is far too complex to simply divide the world into two distinct spheres—the West and the East. I also shared my hope that the audience would perceive my work as a journey that begins in the East but ultimately gives rise to a universal consciousness—one that transcends the boundaries of East and West—embodied in the realization that "gravity is beautiful."

Many distinguished guests traveled all the way from Japan to Washington, D.C.—including Mr. Yoichi Inoue, Director of the Nara National Museum. We were deeply grateful for their presence. Dr. Feltens, a curator at the museum, has known Mr. Inoue since when he served as Deputy Director of the Tokyo National Museum. The professionals involved in Japanese art across the globe are interconnected, transcending institutional boundaries.

Many distinguished guests traveled all the way from Japan to Washington, D.C.—including Mr. Yoichi Inoue, Director of the Nara National Museum. We were deeply grateful for their presence. Dr. Feltens, a curator at the museum, has known Mr. Inoue since when he served as Deputy Director of the Tokyo National Museum. The professionals involved in Japanese art across the globe are interconnected, transcending institutional boundaries.

Returning to New York, I completed the works for my upcoming solo exhibition at the Sagawa Art Museum. The work were shipped to a professional fabricator in Kyoto to be installed as byobu, a pair of six-panel folding screens.  The work will be featured in the *Hiroshi Senju Exhibition* at the Sagawa Art Museum, opening on July 2nd. This solo exhibition will showcase a wide array of my works—many of which utilize vibrant color and are part of the Sagawa Art Museum’s permanent collection—as well as numerous pieces of my Flatwater series. It will be the first time since my 1993 solo exhibition in New York Gallery that these Flatwater works are presented together in such depth in Japan. I hope you will take the opportunity to visit the exhibition.

Returning to New York, I completed the works for my upcoming solo exhibition at the Sagawa Art Museum. The work were shipped to a professional fabricator in Kyoto to be installed as byobu, a pair of six-panel folding screens.  The work will be featured in the *Hiroshi Senju Exhibition* at the Sagawa Art Museum, opening on July 2nd. This solo exhibition will showcase a wide array of my works—many of which utilize vibrant color and are part of the Sagawa Art Museum’s permanent collection—as well as numerous pieces of my Flatwater series. It will be the first time since my 1993 solo exhibition in New York Gallery that these Flatwater works are presented together in such depth in Japan. I hope you will take the opportunity to visit the exhibition.

I created this work by drawing the inspiration from the flowing patterns of glaze found on Heian and Kamakura-period ceramics—part of this museum's collection—and reinterpreting them in the form of a waterfall; my aim was to demonstrate a Japanese aesthetic sensibility that transcends time and space, to be experienced by viewing the piece in juxtaposition with the museum's historical collection.
The Smithsonian National Museum of Asian Art is known for its extensive collection of works by Hokusai. The form of the central waterfall featured here was specifically conceived and created, drawing inspiration directly from Hokusai’s own depictions of waterfalls. Furthermore, the blue used in the background—a shade closely resembling the "Berlin Blue" (Prussian blue) pigment that had arrived in Japan from overseas during Hokusai’s era—was achieved by blending natural pigments. I can only imagine how magnificent it would look if displayed side-by-side with Hokusai’s paintings; indeed, I hope that one day this vision might be realized within the museum’s permanent collection.
This is a commentary on the artworks provided by the museum curator at the exhibition venue. It explores the connections between these pieces and the works of Hokusai. The sense of beauty and mystery found in the way water flows—driven by the force of gravity—is not a sentiment that originated with me; rather, represents an aesthetic sensibility that has been reiterated and became timeless throughout the long history of Japan
A Talk event was held with Dr. Frank Feltens, Curator of Japanese Art at the Smithsonian National Museum of Asian Art with Ms. Shiori Okazaki, a Washington, D.C.-based interpreter. My sincere thanks go to her for such a superb job. During our conversation, I expressed my view that the contemporary era is far too complex to simply divide the world into two distinct spheres—the West and the East. I also shared my hope that the audience would perceive my work as a journey that begins in the East but ultimately gives rise to a universal consciousness—one that transcends the boundaries of East and West—embodied in the realization that "gravity is beautiful."
Many distinguished guests traveled all the way from Japan to Washington, D.C.—including Mr. Yoichi Inoue, Director of the Nara National Museum. We were deeply grateful for their presence. Dr. Feltens, a curator at the museum, has known Mr. Inoue since when he served as Deputy Director of the Tokyo National Museum. The professionals involved in Japanese art across the globe are interconnected, transcending institutional boundaries.
Returning to New York, I completed the works for my upcoming solo exhibition at the Sagawa Art Museum. The work were shipped to a professional fabricator in Kyoto to be installed as byobu, a pair of six-panel folding screens.  The work will be featured in the *Hiroshi Senju Exhibition* at the Sagawa Art Museum, opening on July 2nd. This solo exhibition will showcase a wide array of my works—many of which utilize vibrant color and are part of the Sagawa Art Museum’s permanent collection—as well as numerous pieces of my Flatwater series. It will be the first time since my 1993 solo exhibition in New York Gallery that these Flatwater works are presented together in such depth in Japan. I hope you will take the opportunity to visit the exhibition.