ARTIST

昭和44（1969）年、東京生まれ。平成6（1994）年、多摩美術大学大学院美術研究科修了。平成18（2006）年と平成25（2013）年、春の叙勲褒章にて紺綬褒章を受章。平成15（2003）年、ダチョウの群像を描いた『阿1』が文化庁買上優秀美術作品に選ばれ、平成27(2015)年には、作家の筒井康隆氏文による絵本『駝鳥』（六曜社）を刊行するなど、ダチョウをテーマに数多くの作品を発表。

平成25（2013）年には、箱根の岡田美術館に縦12m横30mの巨大壁画「風神雷神図　風・刻」を完成。平成31（2019）年、四代目市川翠扇襲名記念扇面を制作。昨年は、十三代目市川團十郎白猿襲名特別公演にて祝幕を制作。現在、東京とニューヨークにアトリエを構え、躍動感あふれる花鳥を描く日本画家として世界的に活動中。

Born in Tokyo in 1969. Graduated from the Graduate School of Tama Art University in 1994 with Master’s Degree of Fine Arts. In 2006 and 2013, he was awarded the Medal with Dark Blue Ribbon in the Spring Conferment of Decoration. In 2003, his work “A1,” depicting a group of ostriches, was selected as an excellent art work purchased by the Agency for Cultural Affairs, and in 2015, he published the picture book “Camel” (Rokuyosha), written by Yasutaka Tsutsui, an author.
In 2013, he completed a huge mural painting “Wind and Thunder Gods, Wind and Time” (12m long and 30m wide) at the Okada Museum of Art in Hakone. In 2019, he produced a fan mask commemorating the succession of Suisen Ichikawa IV. Last year, he created a congratulatory curtain for the special performance of Ichikawa Danjuro XIII’s attack on Hakuen Ichikawa. Currently, he has studios in Tokyo and New York, and is active internationally as a Japanese-style painter of lively flowers and birds.

作品ステートメント

flighitless Ⅰ~IV

この作品は、2011年6月ドイツバイエルン州メミンゲンで開催された芸術祭に出品した作品です。

東日本大震災直後の渡独でした。新緑溢れる森や畑を眺めることのできるメミンゲンのアトリエを提供していただき、現地に一ヶ月間滞在し制作をしました。

ドイツでは、1986年に起きたチェルノブイリ原発事故の放射能汚染の被害を大きく受け続けていて、25年経ったその時でも、お会いする皆さんが恐ろしさや教訓を語ってくれ、当時の日本の土地や人々をも案じてくれていたことが思い出されます。

東日本大震災の年に生まれた作品が、ウクライナ戦争、コロナ禍など当時想像もできなかった2023年に、日本初公開ができることに意味を感じます。

flighitless Ⅰ~IV

This work was exhibited at an art festival held in Memmingen, Bavaria, Germany, in June 2011.

I went to Germany immediately after the Great East Japan Earthquake. I was offered a studio in Memmingen with a view of fresh green forests and fields, and stayed there for a month to create the work.

Germany continues to suffer greatly from the radioactive contamination caused by the Chernobyl nuclear power plant accident in 1986, and even 25 years later, everyone I met spoke of the horror and lessons learned, and I recall that they were also concerned about the land and people of Japan at that time.

I feel that it is meaningful that a film born in the year of the Great East Japan Earthquake can be shown for the first time in Japan in 2023, when the war in Ukraine, the Corona disaster, etc. were unimaginable at the time.