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The Tragicomic Pursuit, 2023, Acrylic, bamboo, paper, wood, and Dacron,

The Tragicomic Pursuit, 2023, Acrylic, bamboo, paper, wood, and Dacron,
60 x 144 x 8 1/4 inches, 152.4 x 365.8 x 21 cm, MMG#35995

In order to get the self-destruct mechanism started, 2023, Acrylic, bamboo, paper, wood, and Dacron, 66 x 61 x 8 inches, 167.6 x 154.9 x 20.3 cm, MMG#35996

In order to get the self-destruct mechanism started, 2023, Acrylic, bamboo, paper, wood, and Dacron, 66 x 61 x 8 inches, 167.6 x 154.9 x 20.3 cm, MMG#35996

The Rewind, 2023, Acrylic, bamboo, paper, wood, and Dacron,

The Rewind, 2023, Acrylic, bamboo, paper, wood, and Dacron,
42 x 36 x 8 1/4 inches, 106.7 x 91.4 x 21 cm, MMG#36002

The Moment, The Realization, The Unknown City, 2023,

The Moment, The Realization, The Unknown City, 2023,
Acrylic, bamboo, paper, wood, and Dacron, 60 x 46 3/4 x 8 inches, 152.4 x 118.7 x 21 cm,
MMG#35999

I Too Await, 2023, Acrylic, bamboo, paper, wood, and Dacron,

I Too Await, 2023, Acrylic, bamboo, paper, wood, and Dacron,
42 x 36 x 8 1/4 inches, 106.7 x 91.4 x 21 cm, MMG#36001

The Roots that Clutch, 2023, Acrylic, bamboo, paper, wood, and Dacron,

The Roots that Clutch, 2023, Acrylic, bamboo, paper, wood, and Dacron,
42 x 36 x 8 1/4 inches, 106.7 x 91.4 x 21 cm, MMG#36000

Press Release

Viruses, stained-glass windows, Atari circuit-board patterns, and leaf structures all collide in the eleven new sculptural works in The Disappointment Engine, Jacob Hashimoto’s first solo exhibition at Miles McEnery Gallery. Loosely referencing East Asian craft traditions, the work also draws from the visual language of weeds and invasive species; radio telescopes; as well as the architecture of churches and mosques built during plagues, all to ask: how might visual sampling exist at the root of identity formation?

Through his artworks, Hashimoto explores what it means to build an understanding of oneself from scratch, both as a denizen of the visually cacophonous digital age, but also as a Japanese American artist grappling with family histories of internment that resulted in shattered cultural inheritance.

At Miles McEnery Gallery, The Disappointment Engine features an immersive, site-specific hanging installation stretching from wall to wall. Forcing viewers to duck, sidestep, and recalibrate, it initiates a physical dance of give-and-take: otherworldly, but also unapologetic in its right to take up space.

Jacob Hashimoto (b. 1973) has been the subject of solo museum exhibitions at MACRO - Museum of Contemporary Art of Rome, Italy; Fondazione Querini Stampalia, Venice, Italy; Los Angeles County Museum of Art, CA; Schauwerk Sindelfingen, Germany; Wäinö Aaltonen Museum of Art, Turku, Finland; SITE Santa Fe, NM; Crow Museum of Asian Art, Dallas, TX; Tampa Museum of Art, FL; and the Boise Art Museum, ID.

His work is in the collections of the Los Angeles County Museum of Art, CA; Schauwerk Sindelingen, Germany; Microsoft Art Collection, Redmond, WA; Fondation Carmignac, Hyères, France; Civic Art Collection, San Francisco, CA; and the Tokiwabashi Tower Art Collection, Tokyo, Japan, among others. He has lectured at the Rhode Island School of Design; Temple University; The City College of New York; and Rowan Oak, the home of William Faulkner.

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