The September 2008 exhibition at the ginza graphic gallery is entitled, The
Design Cycle of Keiko Hirano: Origin, Terminus, Origin.
All the work in which Keiko Hirano has engaged has led to forms of a tranquil
completeness that embody the message contained in each work. These include the
F702iD Shosa mobile phone; the National Museum of Modern Art, Tokyo; the Shiseido
qiora line of cosmetics; and CD jacket design for Kenji Ozawa. When her products
are lined up alongside each other, all exhibiting a consistently high level of
artistic awareness, we are once again amazed at the fact that all their elements “function.” In
Hirano’s hands, the totally obvious fact that design fulfils function is
brought into sharp relief. That she does not slacken her efforts in pursuit of
the wider scope surrounding the item being designed, while continuing to rise
to the challenge of embodying complex elements, stems from the fact that these
various elements all have indispensable roles to play in the item’s function.
Her work is characterized by expressions that use geometrical shapes of ultimate
simplicity; the insatiable pursuit of “whiteness”; cosmetics branding
that employs organic communication cutting across a diverse range of media; and
the development of mobile phone colors focused on gold and magenta. Hirano’s
numerous experimental innovations, which for her were compelled by necessity,
have become the opening gambits and later new standards for trends in the design
world. The vision to which she points may be described as a recommendation to
rethink the concept of the responsibility of design toward society.
The opening of this solo exhibition coincides with the 10th anniversary of the
Graphic Wave 1998 exhibition. This exhibition provides a comprehensive record
of Hirano’s trajectory to date and her collected ideas, and offers a starting
point for embarking on a new voyage into unknown waters.
The ggg Books 86: Hirano Keiko will be published in conjunction with this exhibition.