untitled #2026-2
製作年份: 2025
材料或技法: 丙烯酸纖維, 帆布
尺寸: 65.2 × 53 × 2.5 cm
版本: 獨特
簽名:包括
關於作品
- 製作年份
- 2025
- 材料或技法
- 丙烯酸纖維, 帆布
- 尺寸
- 65.2 × 53 × 2.5 cm
- 版本
- 獨特
- 簽名
- 包括
- 畫框
- 不包含
- 作品證書
- 包括
- 類別
- 繪畫
作品詳情
Painting / Acrylic on canvas
After looking at vast amounts of images via various visual media including social media, Nariyama uses paint – which has physicality, to implement the vague, non-physical recollected image that remained, onto a still, flat surface. She emphasises the two characteristics of a recollected image: ambiguous shape and vivid sense of presence. One of the reference points for her work, is whether the eyeball will move about trying to focus and grasp the screen – that the screen is not orderly.
Testimonial
Nariyama’s paintings are like the sight we see on the edge of our vision. When one is in focus the eyes captures landscapes, things and moving people that spread from left to right, but this is seen outside the consciousness. What we can consciously see varies between the individual but is generally in the realm of 90 degrees, however, the human eye actually captures over 180 degrees.
When you look at her paintings, this unconsciously captured world starts to accumulate; the distinct nature of her layers that form a vision without you noticing, becomes addictive. The inorganic or empty feeling that comes from relying on materiality and coincidence, typical to abstract expression does not exist; there flows narrative, the sense of warmth and breath that can be felt is exceptional – it is as if you are in a jungle flooding with life energy.
（Mai Miyake）
展覽資訊
- 過去的展覽
- ARTISTS' FAIR KYOTO 20262026.02.21 - 03.01
觀賞擺飾在房間裡的樣子
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藝術家
painter
Statement After viewing a large number of images on social media and other platforms, I capture the non-material, ambiguous "images" that linger in my mind and translate them onto the unmoving surface of a painting using tactile, material paint. I focus on two key aspects that characterize these remembered "images": their ambiguous forms and their vivid sense of presence. One of the standards I use in my process is whether the surface remains "unresolved"—whether my eyes, in attempting to grasp the composition, keep darting restlessly across the canvas, unable to find a single point of focus. Ai Nariyama 1983 Born in Osaka 2009 Graduated from the Master’s Program in the Graduate School of Fine Arts, Kyoto City University of Arts, specializing in printmaking Centered around the theme of "looking with doubt," the artist creates paintings through the medium of printmaking. Main Solo Exhibitions 2024 gallery morning kyoto, Kyoto *Held annually since 2009 in cities such as Osaka, Kyoto, and Tokyo. Main Group Exhibitions 2020 "Shell Art Award Artist Selection (SAS) 2020" Recommended by jury member Yasuyuki Nakai, The National Art Center, Tokyo 2023 "Osaka Art Festival" Enokojima Art Culture and Creative Center, Osaka 2024 "Spiral Independent Creators Festival" SICF25, Spiral, Tokyo 2024 Spiral Xmas Market 2024 Part3, Spiral, Tokyo 2025 "WAVE YELLOW" LURF GALLERY, Tokyo Main Awards 2023 metasequoia Kyomachibori Art Fair: Kazuma Ieiri Prize, Kintaro Takahashi Prize 2024 SICF25 "Exhibition Division": Runner-up Grand Prix
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SNSを含むさまざまな視覚メディアを通じて、大量に画像を見た後、頭に残った非物質で曖昧な記憶の「像」を、物質感のある絵具を使い、動きのない平面に落とし込んでいる。記憶の「像」の特徴である、曖昧な形と明瞭な存在感、この２つを意識している。画面を把握する為に、焦点を合わせようと目玉がクルクル動いている状態、つまり「整わない画面」であるかを１つの基準として制作している。
After looking at vast amounts of images via various visual media including social media, Nariyama uses paint – which has physicality, to implement the vague, non-physical recollected image that remained, onto a still, flat surface. She emphasises the two characteristics of a recollected image: ambiguous shape and vivid sense of presence. One of the reference points for her work, is whether the eyeball will move about trying to focus and grasp the screen – that the screen is not orderly.