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03/ART GALLERY

走り去る馬  2017  watercolor on paper mounted on panel  53.0 x 72.9 cm  ©︎Yoshino Masui

増井淑乃 展「将に啼かんとするや」

Yoshino Masui “When Their Presence is Soon to be Heard”

会 期 2018年12月20日(木) - 2019年1月 7日(月)
時 間 11:00 - 20:00
場 所 8/ ART GALLERY/ Tomio Koyama Gallery (Shibuya Hikarie 8F)
料 金 入場無料 Admission Free
オープニングレセプション:2018年12月20日(木) 18:00-20:00 (作家も在廊予定です)
アーティストトーク:2018年12月20日(木) 19:00 -

Opening reception: Thursday, December 20, 2018  6-8pm (The artist will be present.)
Artist Talk: Thursday, December 20, 7pm-


12月31日(月)は18:00までの短縮営業、1月1日(火)は休廊となります。

The gallery will be closed at 6pm on Monday, December 31, and will be closed on Tuesday, January 1.

この度、8/ ART GALLERY/ Tomio Koyama Galleryでは、増井淑乃「将に啼かんとするや」を開催いたします。

増井淑乃の作品は繊細で細密な水彩画です。紙に水彩で下地を塗り、時間をおいてから何度も重ねて描かれる画面には、滲みによってできる偶然の効果と意図的で入念な描線によって独特のテクスチュアがつくりだされます。増井が身近な存在として観察してきた猫や馬、鳥などは、作品のなかで背景と重なり、まるで神話に登場する動物のように描かれます。本展では新たに、色鉛筆をベースにコラージュを施した作品や、馬をシンプルに配置して描いた作品を制作。展覧会タイトルの「将に啼かんとするや」のように、増井の中で何かが産声をあげようとしているのかもしれません。小山登美夫ギャラリーでは2年ぶりとなる本展では、常に自分自身と対話や格闘をしながら制作する増井の旧作から新作までを展示いたします。

 



【Artist Statement】

4年程の引籠生活を経て、28歳で転がり入った会社では、今までの欠点が全て美点とされた。
世の中には決まり事を無視して、それで迷惑かけても平気な連中がざらにいて、過日の威勢はどうした、むしろ変なのはアンタ達、しっかりしてよ。
過去、私が直面したあの日々は何だったのか。
私は描かなくてもいい世界を手に入れた。
同時に、「私が直面したあの日々」の産物である奴との奇妙な駆け引きが始まった。
「もう描けない」を奴は私に言わせない。強くもない強さが何かの声を適当に出しているような。
私と奴の共鳴度やそれぞれの干渉歩合のうえに絵が乗っている。その振れ幅は一定せず、作品は揺らぎの中を転がる。
ただ、美術そのものが一定の形を持たず、現代においては「全俺が泣いた」レベルに分散化されているのだから、それが一人の中でまた細分化されても全く問題ない。 
言葉を持たない奴が気まぐれにやったことを、私が説明する。そんな日々だった。
ー増井淑乃



【増井淑乃 プロフィール】

増井淑乃は1976年静岡県焼津市生まれ。静岡県立清水南高校芸術科に進学後、多摩美術大学美術学部芸術学科で東洋美術を研究、現在東京を拠点に活動を行っています。芥川賞作家である磯崎憲一郎のデビュー作『肝心の子供』(第44回文藝賞受賞/ 2007年、河出書房新社主催)の装画となった他、世界中のキュレーター、批評家によって推薦された1975年以降生まれの作家を紹介した書籍『Younger Than Jesus: the Artist Directory』に、片岡真実氏により選出、掲載されています。小山登美夫ギャラリーでは2006年、2008年、2011年、2013年、2016年と5度の個展を行っており、2016年1月には駿府博物館にて個展を開催しました。

http://koyamaartprojects.com/artists/yoshino-masui/



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8/ ART GALLERY/ Tomio Koyama Gallery is pleased to present "When Their Presence is Soon to be Heard" a solo exhibition of works by Yoshino Masui.

Yoshino Masui's oeuvre comprises delicate and intricately detailed watercolors that are depicted through applying a base coat of watercolor, which is then later revisited and developed with numerous layers of paint. Within such works, a unique sense of texture is created by the unexpected effect caused by blurs and smudges of the paints, in combination with the intentional and elaborately painted lines. Animals including cats, horses, and birds which Masui has continued to observe as presences familiar to her overlap with the backdrop of the works, and are painted in a manner reminiscent of mythical creatures. For this exhibition, she has created new works in which horses are simply positioned and depicted within the space of the picture plane. As could be interpreted from the title, When Their Presence is Soon to be Heard, perhaps the works serve to indicate a new beginning, or something within the artist that is about to be born. The exhibition that marks Masui's first solo exhibition at Tomio Koyama Gallery in two years, features a selection of old works and new works by the artist who through her practice, constantly continues to both engage in a dialogue and confront her very own self.





Artist Statement
In the company that I joined when I was 28 years old, after four years or so of living a hermit life, all my faults were considered a virtue. The world is full of people who ignore the rules, and feel no pain or remorse in inconveniencing others. What happened to that mighty attitude from the other day? Do you not realize that it's you all who are weird?
What had indeed become of those days I had confronted in the past?
I gained a world that I no longer had a need to depict. At the same time, a peculiar game of tactics had incurred between myself and that person who was the very product of "these days I had confronted."
That person doesn't allow me to say "I can no longer paint." It is as if some form of strength that in fact has no power at all, is randomly making its presence heard.
The paintings manifest upon the resonance and respective rate of intervention between that person and myself. The extent of this fluctuation is not fixed, and the works roll within the midst of this ever-shifting oscillation. That being said, since art itself has no fixed form, and is in contemporary times diversified to the level of "bringing each and everyone of ourselves to tears," I don't see any issue with it being fragmented within one person. 
It was simply a matter of me explaining what that person without words had done on a whim. Such were the days I experienced.
 — Yoshino Masui





Yoshino Masui was born in 1976 in Yaizu, Shizuoka. She studied Oriental Fine Art at Tama Art University and is now based in Tokyo. As well as creating the cover design for the Akutagawa Prize-winning author Kenichiro Isozaki's début work The Crucial Child (winner of the 44th Bungei Award in 2007, sponsored by Kawade Shobo Shinsha), she was also proposed by Mami Kataoka to be published in the book The Younger Than Jesus Artist Directory, in which curators and critics throughout the world nominate their recommended artists born after 1975. Masui has held five solo shows with Tomio Koyama Gallery in 2006, 2008, 2011, 2013 and 2016 respectively, and in January 2016 she held a solo exhibition at the Sumpu Museum.


Please visit the link for more information.

http://koyamaartprojects.com/en/artists/yoshino-masui/