モダンアートエナジー

作家紹介

Kenichi INOUE
井上賢一

1958年 大分県生まれの現代アーティスト。創形美術学校版画科卒業後制作を始め、1990年代は文字を使った作品が中心だったが、2000年代に入ると次第に文字の延長上に存在する「家紋」に魅かれる。家紋のもつ歴史と情念、一族の栄華盛衰。大河ドラマさながらの歴史を象徴する作品が印象的だ。また、キャンバスだけでなく焼杉を用いた作品に取り組み、木目をフロッタージュ、あるいは焼杉に直接ペイントした作品が登場した。焼杉の木目は子供の頃の記憶として、田舎にある木造づくりの家で寝転がって天井を見ると、そこには渦を巻くような木目があり、その形状が様々な想像力をかき立てたのだいう。

＜個展＞
1984年～2017年 ギャラリー檜、真木画廊、田村画廊、ギャラリーサージなど
＜グループ展＞
1988、89年大谷地下美術展（ギャラリーサージ）
1990年91年92年名栗湖野外美術展（真木田村画廊）
1991年 Two Weeks In The Spring(沖ノ島展館山市)（真木田村画廊）
2016年 エロスの饗宴展（ギャラリー檜）
2017年 開かれた孤独展（ギャラリー檜）
2018年 自由を生む中庸展（ギャラリー檜）

The transition from a painting “to see” to a painting “to read”
My work during the 90’s was purely decorative art, incorporating excessive decorations such as traditional Japanese patterns; I was attracted to visuals that would confuse the perception of the viewer and dazzle them, shapeless things that would act as a kind of narcotic drug. I believe that this attraction came from seeing the Nikko Toshogu Shrine in 1989. After the year 2000, there must have been some reactionary change within me, but along the extended lines of my past artistic value: I started to lust after requiring physical shapes in my artwork. It may have been a natural change. As a result of this, recently I have arrived at a point that is an extension of decorative art and Japanese patterns, which is the beauty of the shapes that lettering creates. For example, the word “peace” is a collection of single letters to create a means to describe a general definition of the word, and at the same time transmits an image or vision of the word. However, depending on an individual’s experiences and abilities, there are many ways in which the word “peace” can be understood. When one cannot understand the language that is spoken (such as English, Japanese, and Kanji) and when one does not know the meaning of the word “peace”, the individual is forcefully returned to a shapeless world of chaos. When speaking the combination of the five letters that make up the word “peace”, many narratives start to spring forth around the word, and as if to assert the existence of each self, each yearn to have their individual shapes. I became terribly attracted to these multi-faceted letters that changed form depending on the way they would be perceived. In the works that I have chosen to show for this occasion, I used letters as well. If I must put it into words, I moved forward from a painting “to see”, to a painting “to read”. The world constantly births shapeless things, yet at the same time it lusts after shape. It is like a pendulum, forever hovering between “fixed form” and “no form”.