シンビズム4

[ 絵画 ]

母袋 俊也

MOTAI Toshiya

 

母袋 俊也
1954
長野県上田市生まれ
1978
東京造形大学美術学科絵画専攻卒業
1983 − 1987
フランクフルト美術大学/シュテーデル シューレ R・ヨヒムス教授に学ぶ
1986 −
複数パネル絵画様式の展開
1988 −
立川にアトリエを定め、制作をはじめる
戸外でのスケッチの再開
1993
東京造形大学専任講師、1994 助教授、2000 教授
1995
アトリエを立川から藤野に移す
偶数パネル作品をTA系と命名
1996
奇数パネルでの制作
1999 −
野外作品「絵画のための見晴らし小屋」制作
2001−
Qf( 正方形フォーマート)系の展開
2019
東京造形大学退職、名誉教授
2020
嵯峨美術大学客員教授
theme of the interrelationship between the format (that is, the dimensions and aspect ratio of a painting) and spirituality, and have systematized them in series: TA (Tachikawa,) Odd-Numbered Link, Vertical, Qf (Quadrat/full or pervasion) and Himmel Bild.At this exhibition, the works of the TA and Qf series are presented. The two pieces of the TA series, which render landscapes and topographies, are cut out by “Vertical Box Windows.” They are exhibited together with their plan drawings. The works of the Qf series, modeled on Andrei Rublev’s icon, “Holy Trinity,” the hands of Jesus and the mudras (palms) of Amitabha Buddha, are exhibited as an installation consisting of the “Qf cube.”By the way, what is “the position of painting” or “the place where painting emerges?”In my opinion, paintings/images emerge as thin films in a place of duality, where “reality, the real world” and the “purely spiritual, non-materialistic world” are slightly overlapped. They exert influence on the real world, against the spiritual world behind it. What I’m trying to discover in the series of Qf cube is the fictitious spatiality, where innumerable images are accumulated to form a cube. Finally, a wall of icons, iconostasis, composed of multiple numbers of Qf works will be assembled for display on the exhibition walls. This time, my paintings of TA series, entitled “TA・ TARO,” depicting the mountain of my homeland, return home for the first time for this exhibition. “Mt. Taroyama” will be cut out by the “Film Window・ Taro,” on the north window of the museum. Finally, these two “images” will come together and display their mutual intimacy.

上田会場の作品展示

 

母袋 俊也

 

母袋 俊也

 

母袋 俊也

おもな作品発表歴

1984
個展「Toshiya MOTAI ZEICHINUNGEN」(ギャラリーヴィレムス/ドイツ)
1990
個展「母袋俊也 絵画・水彩」(ストライプハウス美術館/東京都)
2003
「第2回大地の芸術祭 越後妻有アートトリエンナーレ2003」(新潟県)
2006
個展「風景・窓・絵画アーティストの視点から:母袋俊也の試み」(埼玉県立近代美術館/埼玉県)
2007
個展「母袋俊也〈絵画のための見晴らし小屋〉水平性の絵画〈TA〉の流れ」(辰野美術館/辰野町)
2012
「コレクション×フォーマートの画家 母袋俊也 世界の切り取り方−縦長か横長か、それが問題だ」(青梅市立美術館/東京都)
2014
個展「母袋俊也 絵画《TA・KO MO RO》−《仮構・絵画のための見晴らし小屋KOMORO》」(小諸高原美術館/小諸市)
2017
個展「母袋俊也 Koiga-Kubo 1993 / 2017そして
〈Qf〉」(奈義町現代美術館/岡山)
2019
個展「母袋俊也 浮かぶ像−絵画の位置 退職記念展」(東京造形大学附属美術館ほか/東京都ほか)
ほか著書・論文多数

Encounter with Universality

MOTAI Toshiya is a painter, who continues to produce his works under the theme of “Format (that is, the dimensions and aspect ratio of a painting) and Spirituality in Painting.” The works of the TA series having an oblong format, which he started producing after coming back from studying in Germany, generated the idea of the Qf series having a quadratic format. Both of them developed respectively in their own ways, and question the superiority and universality, which paintings should essentially embrace in themselves.
This time, his work dealing with Mt. Taroyama in Ueda, where MOTAI was born, is on display as well. Just as we view landscapes, the landscapes themselves, which have continued to exist from ancient times, “keep their eyes on us” as well. MOTAI says, this very principle of landscapes is what contemporary painting needs to embrace.

Yamagiwa, Yoshiko / Ueda City Museum of Art

[上田会場]

2021.2.13sat - 3.14sun

上田市立美術館

9:00-17:00休館日 = 火曜日(祝日の場合は翌日)

入館料 = 当日券:一般500(400)円、高校生以下無料
※ ( ) 内は20名以上の団体、障害者手帳携帯者とその介助者1名は無料

長野県上田市天神3丁目15-15 サントミューゼ内電話 0268-27-2300