Narumi Hiramoto “Good News”

Narumi Hiramoto “Good News” PGI banner photo

PGI is pleased to announce Narumi Hiramoto’s first solo exhibition at our gallery. Since 2016 Hiramoto has been using photos from local newspapers to make daily collages to post on Instagram. His unique approach and enigmatic images earned him the 20th 1_WALL Photography Competition Grand Prize in 2019 as well as his first solo exhibition, entitled narconearco, at Guardian Garden (Ginza, Tokyo) the following year. His series PRIVATE VOYAGER was chosen to be exhibited alongside other rising artists at the Yokohama Civic Art Gallery Azamino in 2021.

Hiramoto first photographed a newspaper as a macro lens test in 2016. The image happened to feature a random chunk of text from one of the articles. Intrigued by this cut-up technique, he began making collages from the local paper. He also created three rules for himself—the images must all be from the same day, that he only works in his own room, and that he upload the results to social media on the day the paper was published. Sticking to this routine is a fundamental part of his process.

Meticulously editing mass media imagery while working in a personal space, Hiramoto explores the dichotomies between public and private, local and global, and fact and fiction. Posting the images to social media, where privacy is shaky at best and misunderstandings abound, serves to amplify his messages.

Good News features collages selected from Instagram, all centered around the titular theme and rearranged for gallery viewing. Seeing the prints in person allows for a different experience than the digital images posted to his timeline. Hiramoto has carefully curated the contents of this show and placed his focus on monochromatic images. To achieve maximum sharpness and clarity he utilized Piezography inks, which replace the colors normally found in inkjet printers with several shades of gray. Inspired by surrealist icon and author of the first Surrealist Manifesto André Breton, Hiramoto strives to ensure that his work remains extemporary and avoids self-repetition. Neither abstract nor literal and unfettered by reason, these perplexing photographs linger in the viewers’ minds long after they’ve stopped trying to figure them out. 

This exhibition will contain approximately twenty Piezography archival carbon pigment prints.