A gif of the exhibition title, Ambrosia, in Hoss Sharp with various glyphs and images shuffling and replacing random letters in the word.

Hiro Nishikawa

A glyph of a paintbrush.

ALIVE

I researched many book cover designers from Japan. I was simply impressed with their commitment and the beauty of their works. Of course, the quality is top-notch, but most importantly, I could feel their love of book covers. However, one of the designers, Isao Mitobe, mentioned that he is deeply concerned about the other peoples’ perceptions of book cover designs. He believes that it should be valued more. As I was researching, I also started to be concerned about the value of book cover designs.

So, I started to explore book cover designs asking myself, “What makes a book cover a book cover?” I approached it in many ways such as the form, the parts, the process, etc. Eventually, I found this interesting idea of viewing book covers when they are spread out. It was like a horizontal poster and I felt the vitality. At that moment, I believe I found an interesting value to book cover design; a book cover poster.

So, I started to explore book cover designs asking myself, “What makes a book cover a book cover?” I approached it in many ways such as the form, the parts, the process, etc. Eventually, I found this interesting idea of viewing book covers when they are spread out. It was like a horizontal poster and I felt the vitality. At that moment, I believe I found an interesting value to book cover design; a book cover poster.

A side shot of Hiro. He is wearing a black shirt. There are slanted white boxes with a black border across the picture. In the boxes, it has “ALIVE”, “POSTER”, “&”, “BOOK COVER”, and “生”. “生” means alive in Japanese.
Handwritten signature from Hiro Nishikawa in black.

he/him