hideko hattori Souchon, It is a musical gaze, it is the sensitivity, the poetic availability, the sense of harmony that modify and shape in the long run our perception itself.
Nature conceals relationships, rhythms, perceptible to organs of particular acuity.
As a conscientious naturalist, Hideko Hattori Souchon imposes himself. The whole thing is, as André Breton writes, "not to let the paths of desire get confused."
In Art, no more than in nature, form would not be a goal. You don't go looking for a preconceived form, you find it, you end up there by surprise. It is a consequence, a result that is certainly necessary, of an activity only deployed to end up being.
Such matter, kneaded in a certain way, materializes in such a form, kneaded in such another way, it is erected into another. What matters then is the kneaded matter and how it is. The form goes without saying. It is the state of matter in which it becomes intelligible and sensitive to the mind.
Insofar as nature will introduce forms imitated from her or arbitrarily reconstructed according to her, Hideko Hattori Souchon will take rank and impose himself, this imposition being all the more valid as his creative part will be great.
Nature has always played a role in the preoccupations of creators, both plastic and lyrical, such that one might perhaps be surprised to see it today demolished and relegated to the background.
Nature inspiring forms has not yet said its last word. Hideko is one of those who seek, with real talent, to visually exhaust the surrounding environment.
jean louis mandon.
