Aya Hamamoto’s video installations and performances seek to illuminate the physicality of loss through ‘tactile connections’ between the visible and the audible. Her art practice examines the ambiguous associations between seeing and hearing by considering concepts of ‘touching without the touch’, ‘trace,’ and ‘interval’. Largely based on phenomenological study of multi-sensory perception, the Bergsonian concept of memory, and the notion of Japanese aesthetics of ‘temporality’, Hamamoto’s works can be understood as contact points between the past and present, the real and imaginary, and the conscious and unconscious.
