Video 4 Jul

Norio Kawamura, Drop, glue, paint on wooden panel, 150×70×48cm, 2013

Video 4 Jul

Norio Kawamura, The Heart, glue, synthetic lacquer, 125×170×15cm, 2014

Video 4 Jul

New work by Norio Kawamura who uses glue and lacquer to create his nocturnal objects.
IMAGE: Norio Kawamura, Wave, glue/paint on wooden panel, 100×100×7cm, 2013

Photo 15 May Naoki Sasayama, Posing # 3, watercolor on paper, 65x53cm, 2014

Naoki Sasayama, Posing # 3, watercolor on paper, 65x53cm, 2014

Photo 15 May 10 notes Naoki Sasayama, Posing # 1, watercolor on paper, 65x53cm, 2014

Naoki Sasayama, Posing # 1, watercolor on paper, 65x53cm, 2014

Photo 15 May 9 notes Naoki Sasayama, Hamburger Eats Me!, watercolor on paper, 53x53cm, 2014

Naoki Sasayama, Hamburger Eats Me!, watercolor on paper, 53x53cm, 2014

Photo 15 May 2 notes Sugimoto Katsuya, Close together they lock horns, when apart they are lowing for one another., oil and silver leaf on canvas, 165x165cm, 2014

Sugimoto Katsuya, Close together they lock horns, when apart they are lowing for one another., oil and silver leaf on canvas, 165x165cm, 2014

Photo 15 May 1 note Katsuya Sugimoto, “Better an egg today than a hen tomorrow.”, 45.6x38cm, 2014

Katsuya Sugimoto, “Better an egg today than a hen tomorrow.”, 45.6x38cm, 2014

Photo 15 May Zen Tainaka, Meat Meat Meat, acrylic, wool, resin, plastic on wooden panel, 53×45.5cm, 2014

Zen Tainaka, Meat Meat Meat, acrylic, wool, resin, plastic on wooden panel, 53×45.5cm, 2014

Photo 15 May 1 note Zen Tainaka, Space Shuttle, acrylic, plastic, aluminium, textile on wooden panel, 72.7×91cm
Zen Tainaka (田井中善意)

Frantic draws underline under sarcastic and in most cases satirical representation of the world by Zen Tainaka. Tainaka’s painterly expressions are free from genre requirements or stylistic rules and show the evil or good in a way of dream, which is on the border line of nightmare. The surreal situations in his works play with reason and nonsense. 
田井中善意(Zen Tainaka)
Franticは皮肉を孕んで、多数のケースにサティリカルな世界表現に下線を引きます。ジャンルの条件とスタイルのルールから解放された田井中の絵画的表現は悪と善を悪夢の境界線にあるドリームのように見せています。彼の作品のシュルリーアルのシチュエーションは理性とナンセンスとゲームしながら、現在のアクチュアルなリアリティと作家の周りにある現実に対するクリティカルな視点に光を与えます。 

Zen Tainaka, Space Shuttle, acrylic, plastic, aluminium, textile on wooden panel, 72.7×91cm

Zen Tainaka (田井中善意)

Frantic draws underline under sarcastic and in most cases satirical representation of the world by Zen Tainaka. Tainaka’s painterly expressions are free from genre requirements or stylistic rules and show the evil or good in a way of dream, which is on the border line of nightmare. The surreal situations in his works play with reason and nonsense. 

田井中善意(Zen Tainaka

Franticは皮肉を孕んで、多数のケースにサティリカルな世界表現に下線を引きます。ジャンルの条件とスタイルのルールから解放された田井中の絵画的表現は悪と善を悪夢の境界線にあるドリームのように見せています。彼の作品のシュルリーアルのシチュエーションは理性とナンセンスとゲームしながら、現在のアクチュアルなリアリティと作家の周りにある現実に対するクリティカルな視点に光を与えます。 

Photo 15 May Yukio Takamori, Trafficscape (surface), acrylic on plywood, 100×65.2cm, 2014

Yukio Takamori, Trafficscape (surface), acrylic on plywood, 100×65.2cm, 2014

Photo 15 May Yukio Takamori, Trafficscape (Kinetic) I, acrylic on plywood, 89.4x145.5cm, 2014

Yukio Takamori, Trafficscape (Kinetic) I, acrylic on plywood, 89.4x145.5cm, 2014

Photo 15 May 1 note Yukio Takamori, Traffic Speed - Night Motion, acrylic on plywood, 65.2x100cm, 2014
Yukio Takamori (高森幸雄)

Being not satisfied with the recording abilities of photography Yukio Takamori turns to the art of painting attempting to bring the memory of the moment into its record. As if seen through the psychological filter of a person going through the city with speed Takamori’s works merge representative meticulosity with blurriness of impressions, gentle gradations of light with the dizziness of adrenaline, the long lasting evidence with the instant of the event.  
 高森幸雄  (Yukio Takamori)

高森幸雄は写真の生む記録性に満足することができず、その記録とある瞬間の記憶を合わせて絵画というアートで表現しようと試みています。高森の作品は、あたかも高スピードで都市を通り抜ける人々の心理的フィルターを通して見ているかのようです。そこでは、写実的な厳密さとぼやけた印象、柔らかい光のグラデーションとアドレナリンがひき起す眩暈、瞬時に起こる出来事が統合されているのです。

Yukio Takamori, Traffic Speed - Night Motion, acrylic on plywood, 65.2x100cm, 2014

Yukio Takamori (高森幸雄)

Being not satisfied with the recording abilities of photography Yukio Takamori turns to the art of painting attempting to bring the memory of the moment into its record. As if seen through the psychological filter of a person going through the city with speed Takamori’s works merge representative meticulosity with blurriness of impressions, gentle gradations of light with the dizziness of adrenaline, the long lasting evidence with the instant of the event.  

 高森幸雄  (Yukio Takamori)

高森幸雄は写真の生む記録性に満足することができず、その記録とある瞬間の記憶を合わせて絵画というアートで表現しようと試みています。高森の作品は、あたかも高スピードで都市を通り抜ける人々の心理的フィルターを通して見ているかのようです。そこでは、写実的な厳密さとぼやけた印象、柔らかい光のグラデーションとアドレナリンがひき起す眩暈、瞬時に起こる出来事が統合されているのです。

Video 15 May

Ryo Kiyohara, mushroom cloud hiroshima #1, oil, alkyd on wooden panel, 120x120cm, 2013

Video 15 May 1 note

Ryo Kiyohara, bomb picture #6, oil, alkyd on wooden panel, 100x100cm, 2013


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