©Naoya Hatakeyama, courtesy the artist

Room 1 in Living Cities

Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #2602  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #5712  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #3011  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #5001  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #3108  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #0529  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #3920  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #1006  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #5702  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #2315  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #5121  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #3707  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #1928  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #4303  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #4913  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #4124  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #2001  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #2911  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

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Naoya Hatakeyama, Maquettes/Light #5806  1995, printed 2012

This is one of twenty works in Tate’s collection from Naoya Hatakeyama’s Maquettes/Light 1995, a series which reveals the artist’s dual interests in the formal possibilities of photography and in the architecture of the built environment. Taken in Tokyo at night time, the images depict the various light sources that illuminate the city after dark: rows of fluorescent lights on ceiling panels and in the stairwells of open-plan high-rise offices and apartment buildings; strip lighting that forms an abstract pattern or horizontal lines, sometimes reflected in water; or the single spot of a street lamp. Some are shot at a distance, capturing the light cast down onto the street and objects below, while in others the surroundings are cropped, abstracting the repetitive and ordered structure of the lights and architectural forms and underlining the serial nature of the compositions. Each image in the series has been produced as a gelatin silver print and a black and white transparency; the transparency is attached to the back of the print and the two layers are then placed with a protective UV filter onto a lightbox for display. Although the photographs were shot in 1995, it was not until 2009 that Hatakeyama arrived at this solution for displaying the works. In using the additional transparency rather than just the original print, he found that light could be emitted through the white areas of the city lights to create an illuminating effect, without loss of density and richness in the dark areas of the print. The series exists in an edition of ten; Tate’s works are number nine in the edition and were printed in 2012.

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artworks in Naoya Hatakeyama

Art in this room

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Naoya Hatakeyama Maquettes/Light #2602 1995, printed 2012

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Naoya Hatakeyama Maquettes/Light #5712 1995, printed 2012

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Naoya Hatakeyama Maquettes/Light #3011 1995, printed 2012

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Naoya Hatakeyama Maquettes/Light #5001 1995, printed 2012

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Naoya Hatakeyama Maquettes/Light #3108 1995, printed 2012

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Naoya Hatakeyama Maquettes/Light #0529 1995, printed 2012

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