000000 ランダム
 ホーム | 日記 | プロフィール 【フォローする】 【ログイン】

現代美術作家 玉本奈々

PR

X

全22件 (22件中 1-10件目)

1 2 3 >

美術館、博物館

2021年07月06日
XML
カテゴリ:美術館、博物館
見つめるという呪術的作業

生命が沸き立つ感覚を知る喜びがある。そうした原初イメージを定着させるために、玉本は、画面に塗り込める鮮やかな絵具づかいと、その上に盛りつけるマチエールの対比という方法論を使っている。命の形を見えるものとするためには、この過剰な技法は必然と思わせる。

まず、「永眠」と題された作品は、溶融したアマルガムのような銀灰色の地の上に、赤く縁取られた紡錘状の存在が浮かんでいる。細胞や筋肉を想像させる輪郭線でありながら、その質感は生々しさよりも柔らかさと穏やかさをそのマチエールが伝える。もし死者の霊魂があの世へ旅立つ様を目にするなら、このように浮き立つ姿であるのかと思わせる。

次の「マスクの表皮」では、絵具で塗り込められて地となる無表情な顔の周りに喜怒哀楽を込めた無数の顔で埋め尽くされている。マスクと表側の人格だろう。しかし作家は人間存在を直視したときに現れる。多層な感情を顕わにし暴き出す。そんな根差しの力がこの作品の力となっている。

さて「見られている気がするけれど」において、その根差しそのものがテーマとなっている。向き合ったふたりが互いに見ているのはむき出しの顔=面差しである。見開かれた目と閉じられた目の表現の対比は、見つめ合うこと、すなわち見る/見られるとい向き合い関係の不可能性を露呈しているかのようだ。ここに描かれたユーモラスなように見える表情の表現は、他者と見つめ合うときに生じる歪んだ鏡像という関係の直截的な描写であろう。

次の2点「ムジナ」と「情」はどちらも緑と赤などの色彩の対比と空間の処理がリズムを作り出している作品である。仏語タイトルから、影響を与えて共振していく関係性にテーマを見てよいのかもしれない。「ムジナ」の群れ(であろう)が中央に作り出す空虚や、「情」で儚く途切れそうな処理からそれを感じ取ってみたい。

「千里眼」と「表裏一体」を見てみよう。これらのタイトルから作者は根差しの力を超えて、見ることの意思を表明している。 ここで見るとは目の働きではないことが明らかにされている。「千里眼」において細胞のようなもの(顔にも見える)が浮かびながら、赤と緑が画面に沁み出している。中央はまたしても複眼とでも呼ぶべきセル(細胞)の小部屋が並ぶ。眼というのは、全体は見るという複数の行為の集積であるのだろうか。この作品において見る/見られるの哲学が表明されている。「表裏一体」では全体においての対象性、細部における非対称性を駆使している。ここでも「見られている気がするけれど」と同様に、見る目と閉じる目の対比があるようにも感じられる。画面下方で滴るような赤い小胞は口腔でなく、もうひとつの目ではないだろうか。

最後に「密閉」ではあふれ出る人間の情念のようなものの視覚化に成功している。人間世界そのものが見えるならこのようなものだろうと説得させられる。素材の質感が柔らかな印象を与えていることが救いだろうか。

呪術的な反復は力をもたらす。シンプルに部分が繰り返されることで全体があふれ出すのだ。形を繰り返す玉本作品を繰り返し見つめることで、私たちは人の形の深奥にある姿を見出すことになる。

評論家
松井不二夫
















最終更新日  2021年07月06日 06時49分36秒
コメント(0) | コメントを書く


2021年06月22日
カテゴリ:美術館、博物館
Nana TAMAMOTO --- the Artist Who Never Feels Afraid of a Challenge

When you meet works of Nana Tamamoto, I invite you to take enough time first to face them without any knowledge about her works or herself. Then, I would try to read about them and meet Tamamoto herself.

It was at the personal exhibition held here at Fukui City Art Museum in March 2004 that I first got the opportunity to meet Tamamoto’s artworks. At that time, I wondered why she had come up with the idea of holding her personal art exhibition here in Fukui, considering the fact that the artist is from Toyama and now lives in Osaka. When I asked her about it, she gave me a quite simple answer. She said, “I want my works to be seen by anyone anywhere.” However simple it may sound, no one could let her words pass without paying much attention to it because this attitude is very important as an artist. Creating your own work will absolutely help you thrive as an artist, while it is possible that your creation may end up with being something just meaningless for others, and it’s also possible it may be appreciated as a great masterpiece. I personally believe that people basically share the ability to identify with the same object regardless of the areas they live in, except for cases where people don’t share the same perspectives or their minds have become too numb to appreciate artworks depending on, in my belief, what kind of backgrounds they have because a little difference in environment and culture can form different perspectives. Therefore, it could be very challenging for an artist sometimes when they decide to exhibit their artworks where they have almost no acquaintances, and people tend to develop an illusion that those exhibitions can be evaluated just from the number of visitors they record. However, I believe it has a great meaning for an artist when they take on such a challenge and succeed to move someone, even if there is just one person who really appreciates their work. In that sense, too, I believe it’s very important for artists to try to expose their works to anyone anywhere.

Now, Tamamoto is an artist who has tried to show her works to people in various regions. Also, she has continued to develop her style as well, and has always created artworks that seem to resonate with Tamamoto herself. Not only she uses oil and acrylic colors, but also she expands the range of mediums by adapting whatever new materials she herself needs such as fabrics and gauzes to express her ideas. It could possibly be too much sometimes, but it seems that Tamamoto herself intuitively knows how far she could go and that she always creates her works without making any tiny ineffective impacts. Then, we who appreciate her artworks will be overcome with the sensual world of even more impressive colors, and be engaged into her works whose layouts are well designed.

Tamamoto has fixed her eyes on the inside of herself and kept looking deep inside of it. What she gained from such experiences has materialized as her artworks. Her works are surely the result of her creative activities, but what I admire most about her is that she doesn’t seem to hesitate to reveal herself in the process of creation. Then, the color “red” created by Tamamoto, which is so vivid that it makes me wonder it may have some kind of mystic power, leaves me entranced and tempted into an illusionary world.

You face Tamamoto’s artworks, and then you face Tamamoto herself. Everything they express, it’s her soul itself, her passion, and the inner world deep inside of her heart.

Tamamoto respects the preciousness of life, and I’m pretty sure she will never lose her appreciation toward the life she was given. I also believe she will continue to thrive as an artist. I wish her all the best, and I do hope more and more people will identify with her artworks and appreciate them as what contribute to their process of looking deep inside of themselves.

Hiroaki ISHIDO
Curator, Fukui City Art Museum









最終更新日  2021年06月22日 06時29分35秒
コメント(0) | コメントを書く
2021年06月16日
カテゴリ:美術館、博物館
玉本奈々-挑戦し続ける作家-

玉本奈々の作品は、まず何の知識も持たずにじっくりと対峙して観ていただきたい。その上で玉本についての文章や玉本自身と話していただくことを私はお薦めする。

私が初めて玉本の作品と出会ったのは、昨年3月に当館で開催された個展の時である。富山出身で大阪に住む彼女がなぜ福井で展覧会をしようと思い立ったのかは、彼女と話をすることで解決された。実に単純ではあるが「どの地域に住む人々にも観てもらいたい。」ということであった。ただ、この言葉をなにげなく聞き流してはいけない。作家として非常に重要なことである。自ら創造した作品は自分の肥やしとなるが、他人にとってはただの無意味なものとして存在することもあるし、それが物凄い価値あるものとして存在することもある。

人はどの地域に住んでいても共感できるものなどは基本的に同じであると思う。ただほんの少しの環境や文化の違いによって培われてきたものが異なり感じることに麻痺してしまっている場合はある。誰も知らない土地での展覧会への挑戦は、作家として時に厳しい試練となり観覧者の多少がその評価につながるような錯覚に陥りがちだが、例えたった一人でも共感できる人がいるのなら、その挑戦には大きな意味があったと言えるだろう。その意味においても地域を越えて他人に観せることは作家として重要であると考える。

さて、玉本は各地で挑戦するとともにその創作活動においても同様に挑戦し続け、常に自身と呼応するかのような作品を作り続けている作家である。 油絵具やアクリル絵具に留まらず布やガーゼなど限りなく自分自身が表現するために必要な素材は新たに取り入れながらその幅を広げていくのである。時にそれはくどさを伴う危険性もあるが、玉本自身は感覚的に押さえるツボのようなものを心得ているのか、無駄をつくらないギリギリの所で勝負しているかのようである。そして一際目をひく色彩の感覚世界に圧倒され、確かな画面構成の中に我々観る者は引きずり込まれていくのである。

玉本は深く自身を見つめ続け、その結果としてそれを作品化している。創造する行為は確かにそこに存在するのだが、素直に自分をさらけ出しながら作品化しているところに私は敬服する。そして玉本の作り出す不思議なくらいに鮮明に映る「赤」が私を限りなく魅了し、危ない領域にでも踏みこむように誘うのである。  

”玉本奈々”という人間性そのままが作品としてそこに存在し、そこから受けるあらゆるものが彼女の魂そのものであり、彼女の情熱であり、そして彼女の奥深い心の中の世界なのである。

命の尊さを知り生きることへの感謝を忘れずこれからも挑戦し続けるであろう玉本の活躍を祈るとともに、 一人でも多くの人たちが玉本の世界に共感し、自身を見つめ直す一助として感じてもらえることを願う。

福井市美術館 学芸員
石堂 裕昭


密閉






最終更新日  2021年06月16日 06時29分35秒
コメント(0) | コメントを書く
2021年06月02日
カテゴリ:美術館、博物館
I know this is a very rudimentary question, but why do painters paint to begin with?
I sometimes find myself wondering why for no particular reason
To express something, or to seek another masterpiece?
Or simply because they are painters.
I often wonder, but there seems to be no answer to my question, and then I stop wondering and always try to convince myself as if I found a satisfactory answer.

Paintings whose touch is just too flat, too light, too gentle, and too nice.
Such paintings can be seen everywhere now.
Some people might consider them modern, I wonder.
Looking at them, I feel nothing except that they somehow lack strength and leave something to be desired.
Or is it just me who feels this way?
And again, I start to wonder why painters paint or whether they have any necessity of painting.

I feel that it is Nana Tamamoto who has shown me one of the possible answers to this vague question of mine.
For Tamamoto, to paint is to live.
She must paint because that’s how she maintains the balance between her body and her spirit.
Should she stop painting, Tamamoto must stop living and soon become as if she were dead.

Heavy colors and forms.
Ugliness and passion.
It is the world of almost madness that defines her collection.
She cries out from the bottom of her soul, and I presume such cry itself takes its form as an artwork. I would say there are few painters who reveal themselves with such intense passion and no hesitation, except for Tamamoto.
No one can tell how her energy will show itself in the future, but I do hope her work will raise the revolution in the current peace-addicted world of paintings.

Masaki YANAGIHARA
Director of the National Museum of Modern Art, Kyoto








最終更新日  2021年06月02日 06時14分25秒
コメント(0) | コメントを書く
2021年06月01日
カテゴリ:美術館、博物館
まことに初歩的な疑問なのだが、画家はなぜ絵を描くのだろうか。
この頃ふと思うのである。
何かを表現するために、あるいは次なる絵画を求めて。
そして画家なのだからと、あれこれ思いをめぐらすのだが、これといった答えもなく、曖昧なままにしながら、なんとなく納得している。

ただ、薄く、軽く、ぼんやりと、小綺麗に。
そんな絵画が目に付くようになった。
それが今風ということなのだろうか。
見る側にとると、どこか稀薄で物足りなさだけが残るのである。
こんなことを思うのは私だけなのだろうか。
そして、画家は描くことの必然性をどこに定めているのかという疑問がまたわいてくる。

そんな漠とした疑問に、なんとなくではあるが、ひとつの答えを示してくれたのが玉本奈々のような気がしている。
玉本の場合、描くということは、生きるということに直結している。
自身の肉体と精神のバランスを保つために、描かなければならないのである。
もし、描くということを止めたとき、玉本は廃人へと旅立つにちがいない。

毒々しい色彩と形態。
醜さと情念。
一種狂気にも似た世界が作品を支配する。
玉本の魂の叫びがそのまま噴出したものなのだろうが、これほどまでにあからさまに自身をさらけ出す画家も稀であろう。
このエネルギーがどのような方向に進むのかは定かではないが、平和ボケした今の絵画の一石となることを願う。

京都国立近代美術館長
柳原 正樹

画像は「未練」








最終更新日  2021年06月01日 06時17分33秒
コメント(0) | コメントを書く
2021年05月19日
カテゴリ:美術館、博物館
Nana TAMAMOTO --- Condemned to be an Artist

I’m not particularly a fatalist, but I believe some people in the world are condemned to follow particular professions. Typical of these are the best athletes in the world as well as actors or actresses, singers, and artisans in the highest level. Also, I think we can find such people among management executives and politicians who are destined to lead other people.

Evidently, they couldn’t have gotten their careers without having made a tremendous amount of efforts. It is because they have kept their high motivation and continued to practice much harder than anyone else. However, given the fact that the overwhelming majority in the world will not be repaid for the same amount of efforts, I have to say that such people are destined and called to choose those particular professions.

Nana Tamamoto is condemned and called to be an artist.

She has come a long way: having lived as a child in the world of nothing but colors and very blur images because of her weak eyes. Having regained her eyesight miraculously at the time when she was a junior high-school student and become completely engaged in drawing, being overwhelmed by her realization that the world is full of objects with clear, straight lines. Having studied drawing when she was a high-school student by going to Kyoto Prefecture every weekend from Toyama Prefecture where she lived at that time. Having come to believe firmly that she was destined to be an artist through the experience of losing her health and lingering on the verge of death through overwork after she had gotten a job. All of these various experiences have formed what she is now.

Talking about her style, she usually overdraws strong colors on a surface of a board etc. made uneven by fabrics and strings attached to it. Colors she uses are sometimes so heavy that they remind us of human blood or flesh. Human eyes and faces, cocoon-shaped protrusions, and cell-looking forms covering a surface also evoke emotions from deep inside of our spirit, and we ourselves can’t even explain what those emotions are. What people show and what they hide, beauty and ugliness of human nature, and life and death. All these various elements are agitated together and sublimed into one artwork. It looks as if it embodies the chaotic universe, or love and compassion that envelop everything.

Also, because of her rich originality in style, among people who look at her works, some are deeply moved by them, and others reject them. In that sense, her works could be considered as a sort of powerful drug.

Artworks that are moderately nice and armed with the knowledge, and don’t forget to conform themselves to the current style. Such works are now becoming the mainstream of the current art industry. Obviously, Nana Tamamoto, who has become an artist because she is condemned to, doesn’t fit this category. Now, one must wonder which one has the universal value that a true masterpiece alone possesses.

You, who appreciate her works, will be the one to decide.

If you free yourself from your prejudices and face her artworks with an innocent mind, you’ll find yourself content with your decision.

Takafumi KOBUKI
Critical Writer on Art








最終更新日  2021年05月19日 10時34分26秒
コメント(0) | コメントを書く
2021年05月18日
カテゴリ:美術館、博物館
玉本奈々 ― 成るべくして成った人

私はとりわけ運命論者ではないが、世の中にはその仕事に就くべく定められた人がいると思っている。スポーツのトップアスリートはその典型だし、役者や歌手、職人にもそんな人がいる。経営者や政治家の中にも、人の上に立つべくして立った人がいるはずだ。

もちろん彼らは漫然とその地位を得たのではない。人の何倍も修練を積んだ結果である。だが、世の中には同じ努力を重ねても報われない人の方が圧倒的に多いのだから、やはりそれは運命であり使命なのだろう。

玉本奈々は、美術家に成るべくして成った人だ。

幼い頃目が悪く、ほとんど物の輪郭が分からない色彩だけの世界で過ごしたこと。中学生の時に奇跡的に視力が回復し、世の中に直線が多いことに驚いて夢中で絵を描いたこと。高校時代、週末毎に地元の富山から京都に通って絵の勉強をしたこと。就職後、オーバーワークで体調を崩し、死線をさまよった後に美術家への道を確信したこと。様々な経験が現在の彼女を形成している。

作品は、板などの上に布や糸を貼り付けて作った凸凹な面の上に、鮮烈な色彩を塗り重ねて作られている。毒々しいまでの色彩は人の血や肉を思わせ、画面を覆う目や顔、繭玉のような突起、細胞のような形態は、我々の精神の奥底にある名状し難い感情を呼び覚ます。人間の表と裏、美と醜、生と死、様々な感情が撹拌され、一つの画面に昇華されるのだ。その姿はまるで混沌とした宇宙、或いは全てを包み込む慈愛が具現化したかのようでもある。

また、非常に個性的な作風ゆえ、作品を見た人の中には深い感動を憶える人と拒絶反応を見せる人がいるそうだ。そういう点で彼女の作品を一種の劇薬と見ることも出来るかもしれない。

ほどよく小ぎれいで理論武装され、流行への目配せも抜かりない。そんな作品が幅を利かせる現在のアート業界で、美術家に成るべくして成った人=玉本奈々の表現は明らかに規格外だ。しかし、優れた芸術作品が持つ普遍的な力を宿しているのは果たしてどちらだろう。

その答は観客である皆様自身でご判断いただきたい。

偏見を排し、まっさらな精神で作品と対峙すれば、自ずと結論は導き出されるはずだ。

美術ライター
小吹隆文









最終更新日  2021年05月18日 08時56分28秒
コメント(0) | コメントを書く
2021年05月15日
カテゴリ:美術館、博物館
«寄り道»
現在束の間、京都国立博物館にきております。特別展にて「鑑真和上の戒律のあゆみ」が明日までも催されております。
国宝の「鑑真和上坐像」が寺外では12年、京都国立博物館では45年ぶりの出展…生活の中での戒律や授戒と戒名、戒律と勧進などなど、じわりと見どころある展でした。

ゆったりしていますね。
多忙な毎日ですが、心のゆとりは出てきた様子、publicの催しも内容を楽しめるようになりました…足早ですが💦

緊急事態宣言にて、休館続きでしたが、最終日の週に開館となられ、感謝いたします。
















最終更新日  2021年05月15日 15時21分18秒
コメント(0) | コメントを書く
2021年05月05日
カテゴリ:美術館、博物館
Works of Nana TAMAMOTO

Facing works of Nana Tamamoto, what I sense vividly is the existence of something deeply human. Of course, artworks are the result of human creation, so there is no wonder many artworks reflect humanity of artists. In some cases, the theme of the work itself is simply “human.” Tamamoto is no exception: she depicts “human” in her works. They always reflect the inner world of human beings, sometime with a sense of humor, and some other time, with seriousness.

Take a look at “The Eternal Sleep” of 2001. This is the work Tamamoto painted at a brush to mourn over the loss of her grandmother. Something in a bright red shape is painted as if it was floating in the sparkling silver. Looking at it very carefully, you’ll see fabrics, sheep wool, and gauzes in various forms and colors sewn on the painting, and colored with oil and acrylic paints. To me, it seems that it’s more of a painting depicting something specific such as a cell of a human being, an element of the universe, or soul of a human, than a painting depicting something completely abstract.

Talking about colors, forms, or her artistic skills, not everything is perfect. Rather, some of her works give us the impression that she is showing her inner world so passionately. Others may look somewhat unsophisticated. However, though they evoke such impressions, once those awkward shapes, heavy-looking colors, and unique textures touch our heart through our eyes, we will begin to find each one of them so clear as crystals, and to feel our heart resonate with those images.

After graduating from university of art and design, she had worked for a clothing company for a few years. Then in 2000, Tamamoto began her career as an artist, and since then she has focused on creating her artworks. It was her losing health that changed the course of her life, and this experience made her look deep inside of herself, try to realize what life means, and express herself through her creation. She hasn’t created many works so far. Each work, however, was born because it had to, and the reason to be born was different in each case. Works such as “Woman Body,” “Body,” “Inseparable,” “Labyrinth,” “Compassion,” “Selfishness,” and “Affection” are good example. Each of them reflects various emotions inside of Tamamoto, such as her feelings for her illness, her love toward her own family, and her strong attachment to life.

In Japan today, it has become difficult to find artists who are trying to face what a “human being” is and to stick to their own style to express themselves. I think it’s because we can get everything we want in this modern world. It seems we can choose whatever we want since the world is full of choices. We even think we can easily get what looks nice, fun, or cool, and try to grab them. However, being asked about what we really need, can we sincerely face each of the things we consider truly precious? Can we face human nature, or face ourselves, without turning our eyes away? Can we really do so without feeling obligated, or refusing to do so?

Tamamoto’s works have their own voices. She has found such voices in the process of facing and cutting deep inside of herself, while living in this reality where everyone fantasizes, acts by greed, and clings to many things. In this modern world, we hear her voice through her artworks, and find something really rare and precious in them.

Two old Japanese houses have been chosen to be the venues of this exhibition: “the House of Uchiyama,” which used to be a farmhouse of a wealthy farmer, and “the House of Kanaoka,” which used to be a house of a pharmacist. Both of them are remains from Edo and Meiji Period. These venues have been chosen because Tamamoto expressed her strong intention to exhibit her collection at such old Japanese houses. Being a great-granddaughter of an owner of a nice and big farmhouse, she feels the trace of human activities from such houses as well as a bond with them.

“Mind’s Eye” and “Clairvoyance,” both of which are latest works and will be exhibited at this exhibition, represent human eyes that can penetrate what is hidden and cannot be seen from our eyes. What does Tamamoto try to see with her eyes different in shapes and colors wide open? “Don’t let your eyes be clouded: that is important,” says Tamamoto. Taking her words to my heart, I want to fix my eyes on the coming artworks of Tamamoto, who tries to see her works, human beings, and the world as something organically linked, with her unclouded eyes.

Keiko ASO
Curator, The Museum of Modern Art, Toyama








最終更新日  2021年05月05日 07時07分48秒
コメント(0) | コメントを書く
2021年04月15日
カテゴリ:美術館、博物館
Nana (a berceuse) for NANA

It is my belief that works of Nana Tamamoto are something more “created” than “painted.” (I think this explains why I felt three-dimensional pieces like “Tightness,” which I saw at the personal exhibition venue, naturally fit in well with other two-dimensional artworks. However, here I would like to mention major tableaux of Tamamoto only.) Her work is the composition of different fabrics and threads sewn on a board, and various colors overpainted several times. It’s hard to tell whether those forms are concrete or symbolic. Examining carefully with my eyes the texture of those materials intertwining with such forms, and multilayered colors, I felt something which I couldn’t explain well arising in my heart. I presume I was sensing “life” which is unexplainable but surely exists, and has an organic movement. I don’t doubt that something deep inside of Tamamoto’s works is somehow connected with the richness and depth of “life.” I believe Tamamoto’s own personal experience has affected them a lot.

However, what we see on the outer layer of her works is not too realistic at all. It has never possibly happened that She depicts her inner world just violently. Instead, her works are like representations of a world of fairy stories or fables full of imaginary shapes and colors. I personally believe that it is this modulation from a deeper layer to an outer layer that makes people appreciate Tamamoto’s works. Also, this inevitably makes me wonder about the act of “creation” that enables such modulation.

It won’t be that hard to imagine that Tamamoto spends a lot of time and energy on developing her oeuvres. However, in my belief, the process of creation and hand working could be the act of her cherishing herself by objectifying her inner world and, say, her singing a berceuse to her own soul, even if such a process is sometimes challenging. If not, had she really been able to complete her collection that consumed lots of energy and time, and sometimes carries serious messages, without any breakdowns? Say she could’ve, but I imagine such a work would remain something only hostile, something she depicted by just enlarging her inner world.

I’ve heard that Tamamoto’s works are more popular among women, and I stretch my imagination: Nana (the berceuse) for Nana (Tamamoto) is now sung for every woman (“nana”) and deeply resonating with each of them.

When I was told that Tamamoto’s artworks would be exhibited in traditional Japanese houses in Toyama Prefecture where she had been born, I felt so happy for her because I was sure they would be the great cradle for her and her works. Her collection fits in best with places that have kept memories of “life” of people who lived there. I can hear songs beautifully in resonance.

Wataru MITANI
Curator, Tanabe City Museum of Art, Wakayama Prefecture








最終更新日  2021年04月15日 07時43分08秒
コメント(0) | コメントを書く

全22件 (22件中 1-10件目)

1 2 3 >


© Rakuten Group, Inc.