日本《第24回 NAU21世紀美術連立展》

日本NAU21世紀美術連立展於1960年代後半，由當時代表性的前衛藝術家主導創立。其理念為跳脫傳統框架，強調創作者本身的個性與表現形式。本展自2006年開始固定於國立新美術館（日本全國最頂級的國家美術館）舉辦，至今已歷20多屆。

繼承日本戰後前衛藝術雙璧——「新達達」（Neo Dada）與「具體美術」（Gutai）反骨精神的第24回「 NAU 21世紀美術連立展」，將於2026年2月4日至15日，於日本最高等級展覽場域——國立新美術館（The National Art Center, Tokyo）盛大開展。本次展覽共有8位台灣優秀藝術家獲邀參展，他們將與來自日本及全球的頂尖創作者，在象徵日本當代藝術最高指標的舞台上，展開一場跨越國界與媒材的視覺對話。

參展成員除了來自日本NAU成員之外，還有來自日本墨人會（世界知名的現代書法家森田子龍、井上有一等創立，其作品屢受佳士得、蘇富比等真正國際藝術品拍賣獲得佳績）、太平洋美術會（日本最早的西洋畫藝術團體，歷史有一百二十多年）、日法現代美術會Salon Blanc、二紀會、每日書道會（日本最大書法團體）、一陽會、自由美術會、一墨會、CAF.N等藝術團體的審查員與成員等，實力堅強。

參展者背景涵蓋東京藝術大學、多摩美術大學、武藏野美術大學等日本頂尖學府，構成了嚴謹的師承與學術評論體系。

參展者：

The NAU 21st Century Art Joint Exhibition in Japan was founded in the late 1960s by leading avant-garde artists of the time. Its philosophy emphasizes breaking away from traditional frameworks and highlighting the individuality and expressive style of each artist. Since 2006, the exhibition has been held regularly at the National Art Center, Tokyo, one of Japan’s premier national art museums, and has now celebrated over 20 editions.

Participants:

【出品者一覧】129名

青木洲子、浅野あかね、穴澤誠、阿部雅光、荒川久美子、アレトコレココ、飯田稔、石井抱旦、石井三子、磯崎式子、伊藤理恵子、井上一光、井上賢一、上杉道子、宇田川宣人、内平俊浩、大津伴絵、woga、岡田繁忠、岡本直枝、岡山正規、小川移山、尾川和、オギノキヨコ、小澤雅美、尾田芳子、梶山美祈、片切かすみ、かとうかずみ、金丸順子、かみむらみどり、加茂富美子、神田　風香、グアリノアキ、久保木妃呂子、栗原光峯、桑山真麻弓、香西洋子、コスター理穂、小林哲郎、今野明子、坂充央、佐々木綱昌、佐藤利予、シアカ章子、塩見章、芝谷桂、SHUICHIGOTOH、晶蔵、末本太丸、菅野純子、杉山まさし、スズマドカ、鈴木齊、関野凛太郎、平昇、高橋詩桜里、髙橋俊明、鷹嘴直、田嶋初、田島弘行、田鶴濱洋一郎、田中みづほ、田畑理恵、田村武、知京一樹、チサカマキ、通天櫻井洋美、津田智子、トウキョウタカシ、戸沼牧子、冨田耕平、土門理恵、豊崎旺子、中島優理、中村白蘭、西田裕子、二宮　ちとせ、仁平和幸、NIL、野村雅美、宣和、橋谷勇慈、服部牧子、濱﨑道子、浜田夏子、林和子、針谷智子、HIROMITOMINAGA、FASC、深尾良子、福江悦子、福田瑞枝、藤下覚、萌翠、HOLEE、万城目純、MasayaIwasaki、松下佐代、松村清司、MahoLaplante、光行洋子、宮﨑聡子、文珠川清、やちぐちひろゆき、柳谷みち代、山内孝一、山崎倖子、山田陽子、山根真奈、柳賢淑、YU-KI、YUKIKO、湯沢茂好、吉原緑香、和田幸三（故人）、和田廣司、渡邊健吾、渡邊佐和子、渡辺信好、蕨迫みのり、吳采恩、王詮富、姜金玲、陳福祺、李佳玲、連瑞芬、廖純沂、王穆提。

展覽內容：
展覽期間：2026年2月4日（週三）至2月15日（週日），上午十點至下午六點，10日休館。
展覽地點：日本東京國立新美術館 展示室1A・戶外展示場A  （日本最頂級的國立美術館，位於東京都六本木、乃木坂站直達）

展覽活動：

2026年2月7日（週六）

・參展者團隊的演出表演　16:00～
　　❶ 野村雅美 團隊（吉他、里拉琴、舞蹈）
　　❷ YU-KI 團隊（手碟、薩克斯風、＋α）

・派對（於其他會場舉行）　18:00～（17:30 起可入場）

2026年2月8日（週日）

・典禮（頒獎儀式等）　12:30～
・藝術家座談／藝術家分享　13:00～

2026年2月15日（週日）

・參展者團隊的演出表演　15:00～
　　❸ YU-KI 團隊（手碟、吉他、舞蹈、聲響）

Exhibition Details

• Dates: February 4 (Wed) – February 15 (Sun), 2026, 10:00–18:00 (closed February 10)
• Venue: The National Art Center, Tokyo, Exhibition Room 1A & Outdoor Exhibition Area A (direct access from Nogizaka Station, Roppongi)

Events:

February 7, 2026 (Sat)

• Performances by participating teams 16:00–
  　❶ Masami Nomura Team (guitar, lyra, dance)
  　❷ YU-KI Team (handpan, saxophone, +α)
• Party (held at another venue) 18:00– (doors open 17:30)

February 8, 2026 (Sun)

• Ceremony (awards, etc.) 12:30–
• Artist Panel / Artist Sharing 13:00–

February 15, 2026 (Sun)

• Performances by participating teams 15:00–
  　❸ YU-KI Team (handpan, guitar, dance, sound)

傳承日本「具體美術」精神、現在作為不分流派在世界發光的藝術團體「NAU」。

「NAU 21世紀美術連立展」以「新達達組織者」為基礎，「新達達組織者」於1960年代由荒川修作、 篠原有司男、赤瀬川原平、風倉匠等人組成，後來由反藝術領袖吉村益信與戲法藝術的頂尖專家岩永忠樹重組為前身「藝術家聯盟」（AU Artist Union）。2000 年，NAU 發起「NAU 21 世紀藝術展 - 初展」，作為不分流派的藝術家聯盟，一直延續至今。

荒川修作：日本紫綬褒章獲得者。法國藝術及文學勳章持有人。

篠原有司男：日本前衛藝術家，作品被現代藝術博物館，紐約、加拿大蒙特婁當代藝術博物館、法國里昂當代藝術館、東京都現代美術館, 東京、原美術館，東京等數十家美術館收藏。

赤瀬川原平：前衛藝術團體「新達達」和 「高赤中」的成員，曾獲獲第84屆芥川龍之介獎。

風倉匠：新達達主義組織者。曾受邀參加巴黎龐畢度中心舉辦的「日本前衛藝術1910-1970」展。

吉村益信：出生於大分市，1951年與後來成為世界知名建築師的磯崎新共同組成新世紀集團，並就讀於武藏野美術學校。從1955年開始，他繼續在未經審查的讀賣獨立展上展出自己的作品，並於1965年與篠原有司男等人組成新達達主義組織者，並在1960年因其“反藝術」的作品和表演而迅速受到關注。之後移居美國，在紐約舉辦個展和群展，1961年返回日本。回到日本後，他積極致力於動態藝術和光藝術，在日本當代藝術展上展出了“反物質：莫比烏斯上的光”，並在1970年大阪世博會上展示了他製作各種展館的技巧。隨後，他發布了《Pig・Pig・lib;》等流行普普藝術作品，並利用三維和二維等多種表現形式開展了豐富多彩的創作活動。

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“NAU” is an art collective that inherits the spirit of Japan’s “Gutai Art” and now shines globally as a non-sectarian group.

The “NAU 21st Century Art Joint Exhibition” is based on the “Neo-Dada Organizers.” The Neo-Dada Organizers were formed in the 1960s by Shusaku Arakawa, Ushio Shinohara, Genpei Akasegawa, Takumi Kazakura, and others, and later reorganized by anti-art leader Masunobu Yoshimura and top performance artist Tadaki Iwanaga as the predecessor “Artist Union (AU Artist Union).” In 2000, NAU launched the “NAU 21st Century Art Exhibition – First Edition” and has continued as a non-sectarian artists’ union to this day.

Key Members:

• Shusaku Arakawa: Recipient of the Japanese Purple Ribbon Medal, holder of the French Ordre des Arts et des Lettres.
• Ushio Shinohara: Japanese avant-garde artist; works held in the Museum of Modern Art (New York), Montreal Museum of Contemporary Art (Canada), Lyon Contemporary Art Museum (France), Museum of Contemporary Art Tokyo, and Hara Museum of Contemporary Art, among others.
• Genpei Akasegawa: Member of the avant-garde groups “Neo-Dada” and “High Akachuu”; recipient of the 84th Akutagawa Ryunosuke Prize.
• Takumi Kazakura: Organizer of Neo-Dadaism; invited to the Pompidou Center in Paris for “Japanese Avant-Garde Art 1910–1970.”
• Masunobu Yoshimura: Born in Oita City; co-founded the New Century Group with architect Arata Isozaki in 1951 and studied at Musashino Art University. Exhibited at the Yomiuri Independent Exhibition from 1955 without censorship. Formed the Neo-Dada Organizers with Ushio Shinohara in 1965, gaining attention for his “anti-art” works. Lived in New York for solo and group exhibitions, returned to Japan in 1961, pursued dynamic and light art, presented “Anti-Matter: Light on a Möbius” at the Japan Contemporary Art Exhibition, contributed to various pavilions at Expo ’70 Osaka, later produced pop art works such as Pig・Pig・lib; and explored diverse creative expressions in 2D and 3D.

展覽場地：日本國立新美術館（The National Art Center, Tokyo, NACT）

「日本國立新美術館（The National Art Center, Tokyo, NACT）」 的定位為核心，比對法國、英國、美國、中國與台灣具有 相近層級、同等國家級地位、展覽性質相似（以大型企劃展為主、少典藏）」 的美術館。有日本最大級別的展覽面積（約14,000平方公尺），專門用來舉辦「超大型特展」、「國際巡迴展」以及「國內美術團體展（公募展）」。

一、日本國立新美術館的定位（基準） 日本國立新美術館是「國家級展覽型美術館」，以 大型特展、國際交流展、藝術團體公募展 為主，不以典藏為核心，屬於政府成立的「國家級展示平台」。有日本最大級別的展覽面積（約14,000平方公尺），專門用來舉辦「超大型特展」、「國際巡迴展」以及「國內美術團體展（公募展）」。

二、相對應國家之等級美術館

（一）法國（France） 與日本國立新美術館最接近的是：

• 功能與地位對應：大皇宮（Grand Palais）
  • 相似點： 兩者都是國家級的「超級展覽館」。巴黎大皇宮主要功能也是舉辦大規模的臨時特展（如香奈兒大秀、大型藝術回顧展），本身不展示永久館藏。
  • 等級： 國立新美術館在策展規模和國際合作能力上，與大皇宮是同一個級別。
• 現代藝術對應：龐畢度中心（Centre Pompidou）
  • 雖然龐畢度有館藏，但國立新美術館的建築風格、對現代/當代藝術的關注度，以及作為「城市文化地標」的角色，與龐畢度相當接近。
• 〈東京 Palais de Tokyo〉（巴黎東京宮） 　云：同為「展覽型」美術館，以當代藝術展覽為主，不以收藏為重點。

（註：羅浮宮與奧賽屬「大型典藏型」美術館，性質不同。）

（二）英國（United Kingdom） 最為接近的機構：

• 〈Tate Modern〉（泰特現代美術館） 　云：以當代藝術展覽與國際大展著稱，國家級地位。
• 〈Royal Academy of Arts〉（英國皇家藝術學院展覽館） 　云：其「夏季展」等大型公募與學術展的性質，和日本國立新美術館的「公募展平台」性質非常相似。
• 最精準對應：皇家藝術研究院（Royal Academy of Arts, RA）
  • 相似點： RA 是英國極少數沒有永久展覽（主要靠特展）的頂級藝術機構，且它和國立新美術館一樣，都承擔著舉辦「公募展」（Summer Exhibition vs. 日本的日展）的傳統責任，是藝術家團體的核心據點。
  • 等級： 極高，屬於國家一線藝術殿堂。
• 另一對應：黑沃美術館（Hayward Gallery）
  • 倫敦著名的現代美術館，同樣沒有館藏，專注於策劃世界級的當代藝術特展。

（三）美國（United States） 美國美術館多為典藏型，但以下兩者在 國家級及大型展覽平台性質 上接近：

• 〈Smithsonian – Hirshhorn Museum and Sculpture Garden〉（赫希洪美術館） 　云：以現代與當代展覽為主，強調國際大展。
• 〈MoMA〉（紐約現代美術館）：雖為典藏型，但其國際企劃展規模與 NACT 相近於「級別」。
• 功能對應：軍械庫（Park Avenue Armory）或 The Shed
  • 美國的國家級博物館（如華盛頓國家藝廊）多半是傳統收藏型。若要找「巨大空間、無館藏、舉辦巨型展演」的對應，紐約的軍械庫或新興的 The Shed 比較接近其運作模式。
• 展覽規模對應：大都會博物館（The Met）或 MoMA 的特展廳
  • 若論「引進展覽的等級」，國立新美術館常是歐美頂級美術館（如大都會、泰特）在亞洲巡迴的首選場地，因此在展覽內容的精彩度上，它與美國一線博物館的特展區是同級的。

（四）中國（China） 中國最接近 NACT 性質的國家級美術館為：北京的中國美術館。

Exhibition Venue: The National Art Center, Tokyo (NACT)

The National Art Center, Tokyo (NACT) is positioned as a core exhibition facility in Japan. Its level and exhibition-oriented nature are comparable to national-level museums in France, the UK, the United States, China, and Taiwan (focused on large-scale temporary exhibitions rather than permanent collections). It has one of the largest exhibition areas in Japan (approx. 14,000 m²) and specializes in hosting “mega exhibitions,” international traveling exhibitions, and domestic art group exhibitions (open-call exhibitions).

1. Positioning of NACT (Benchmark)
NACT is a “national-level exhibition-oriented museum,” mainly hosting large-scale special exhibitions, international exchange exhibitions, and open-call exhibitions by art organizations, rather than emphasizing permanent collections. It serves as a government-established “national exhibition platform” with one of Japan’s largest exhibition spaces (approx. 14,000 m²), dedicated to mega exhibitions, international traveling shows, and domestic art group exhibitions.

2. Corresponding National-Level Museums Abroad

(a) France

• Function & Status Correspondence: Grand Palais
  　Similarity: Both are national “super exhibition halls,” mainly hosting large-scale temporary exhibitions (e.g., Chanel shows, major retrospectives) without permanent collections.
  　Level: Comparable in scale and international collaboration ability.
• Modern Art Correspondence: Centre Pompidou
  　NACT’s architectural style, focus on modern/contemporary art, and role as a city cultural landmark are comparable.
• Other: Palais de Tokyo
  　Exhibition-oriented contemporary art museum, collection not a focus.
  ※Louvre and Musée d’Orsay are large-scale collection-oriented museums, different in nature.

(b) United Kingdom

• Closest: Tate Modern – renowned for contemporary art and international exhibitions, national-level status.
• Similar: Royal Academy of Arts – Summer Exhibition and other large open-call exhibitions are very similar to NACT’s open-call platform.
• Most Accurate Correspondence: Royal Academy of Arts (RA)
  　Few permanent exhibitions (mainly special exhibitions), upholds the tradition of open-call exhibitions (Summer Exhibition vs Japan’s Nichi-ten), similar to NACT, top national art institution.
• Other Correspondence: Hayward Gallery – London modern art gallery without collections, focuses on world-class contemporary art exhibitions.

(c) United States

• Many U.S. museums are collection-oriented, but the following are similar in national-level, large-scale exhibition platform terms:
  　- Smithsonian – Hirshhorn Museum and Sculpture Garden
  　- MoMA (Museum of Modern Art, New York): collection-based, but international exhibition scale comparable to NACT
• Functional Correspondence: Park Avenue Armory, The Shed
  　Large spaces, non-collection-based, for mega exhibitions.
• Exhibition Scale Correspondence: The Met or MoMA special exhibition halls
  　NACT is often the first choice for top-tier Western museum exhibitions in Asia, comparable in exhibition content and quality.

(d) China

• The Chinese National Art Museum in Beijing is most similar in nature to NACT.

參展藝術家概要：

青木洲子（Aoki Kuniko）：師從白尾勇次（以沙龍・布朗美術協會會長身分，主導日法現代國際美術展。），日法現代美術展 法國大使館賞、文部科學大臣賞。

Akiko SIACCA：畢業於日本多摩美術大學，在美術館和畫廊舉辦約700場個展和聯展，本身是現代藝術家與日本銀座畫廊社長。

浅野あかね（Asano Akane）：日本京都造形藝術大學西畫科，參展德國萊比錫Spinnerei藝術區 獨立聯合特展 (GALLERY DEN)、ART MELBOURNE (Mayumi International)。

穴澤誠（Anazawa Makoto）：日本千葉縣展 縣知事獎，多次參展二紀展、現代Artist Center展。

阿部雅光（Abe Masamitsu）：日本阿波和紙會館賞受賞紀念 阿部雅光版畫展。

荒川久美子（Arakawa Kumiko）：日本東京造形大學繪畫系版畫組專攻。銀座東和畫廊、GINZA Gallery Artist Space、日韓交流藝術・Cosmos 展、Gallery 檜、Gallery SHIMIZU、Galerie Shimon、K’s Gallery個展、聯展數十回。

アレトコレココ（Aretokorekoko）：日本京都市立藝術大學雕塑系。於Mint 神戶、MANIFESTO GALLERY、ART GALLERY UMEDA、伊勢丹新宿店 本館6樓 Art & Frame、阪神梅田本店 Hello Culture 2、京都同時代畫廊 等個展將近二十回，國立新美術館、兵庫縣立美術館、神戶北野美術館等聯展數十回。曾獲「Independent Tokyo 2022」評審特別獎（小林貴獎／INTERART 7）、「SICF23」評審獎（荒木夏實獎）等獎項。

飯田稔（Iida Minoru）：日本東京藝術大學美術學部繪畫科油畫專攻，曾獲得[伊藤熹朔](https://www.eslite.com/product/1001357604948064)賞（日本舞台美術の巨人）

石井抱旦（Ishii Hotan）：日本每日書道展審查員、前衛書道家。他將傳統漢字書法（Calligraphy）轉化為一種跨越國界的抽象視覺藝術。與傳統書家不同，他更強調墨跡在空間中的「立體感」與「精神爆發力」。他被視為將日本墨文化推向國際現代藝術舞台的重要人物。曾多次受邀至義大利、德國、法國等地展出，成功將日本「墨」的現代性介紹給西方觀眾。參與日本《墨潮》當代書道交流展，推動跨區域的當代書藝對話。

石井三子（Ishii Mitsuko）：與雕塑家石井鶴造（其父）及石井白亭（其弟）皆為藝術世家。主要活躍於日本現代藝術領域，尤其在生活設計和古典美術方面有深入研究。日本現代藝術的代表人物之一。

磯崎式子（Isozaki Noriko）：日本一陽會繪畫部委員。日本女子美術大學藝術學部藝術學科造形學專攻。於ギャルリ―志門、東京都美術館、黑龍江省美術館、東京文化會館個展聯展多次。曾獲得環太平洋展加拿大國際文化交流協會獎、一陽展一陽獎、準大賞、會員獎。

伊藤理恵子（Ito Rieko）：日本武藏野美術學園研究科美術專攻，早期參展自由美術展，平澤國際藝術節、目黑現代美術展、韓日美術交流展。

井上一光（Inoue Ikko）：日本立命館大學美術專攻。一墨會主宰、字統文字研究所所長、福岡文化聯盟會員、福岡市文化賞。

井上賢一（Inoue Kenichi）：日本創形美術學校版畫系美術專攻。大谷地下美術展、TWO WEEKS IN THE SPRING、名栗湖戶外美術展。

上杉道子（Uesugi Michiko）：日本當代藝術家，多次在シロタ畫廊（Shirota Gallery）舉辦個展與聯展。

宇田川宣人（Udagawa Nobuhito）：日本東京藝術大學大學院 美術研究科 修士課程。日本九州產業大學名譽教授、美國賓州大學客座藝術家、福岡市美術聯盟理事長、福岡日英協會常任理事、亞洲美術家聯盟日本委員會代表。

内平俊浩（Uchihira Toshihiro）：日本名古屋藝術大學美術學部雕刻科，畢業於KOBATAKE工房。Hands大賞展 審查員特別獎。在埼玉縣立近代美術館、新宿三越美術館、石川縣立美術館、名古屋市博物館、愛知縣立美術館舉辦個展、聯展。

woga：透過自動書寫筆記般的重複描繪，致力於表現自然風景與現象。於新宿眼科畫廊、The Artcomplex Center of Tokyo、Jun Kikuchi Graphic、The Artcomplex Center of Tokyo舉辦個展與雙人展多次。

岡田繁忠（Okada Shigetada）：日本現代美術家。

岡本直枝（Okamoto Naoe）：曾在日產汽車株式會社設計部工作約17年，之後於武藏野美術大學研究所研習纖維藝術，現為女子美術大學兼任講師。獲 Antonio Ratti 獎、澳洲雕塑學會日本交流展、Fiberart International（美國），獲最佳展出獎。

岡山正規（Okayama Masaki）：日本京都藝術大學美術學部大學院構想設計研究所美術專攻。曾向日本哲學家梅原猛教授學習哲學，向依田義賢教授（黑澤明導演的編劇）學習劇本學，向關根勢之助、三尾公三教授學習製作。作品為克拉科夫國立美術館（波蘭）、華沙現代藝術中心（波蘭）等收藏。從系統形象論轉向作品存在論，通過「構想建築（Conception-Architecture）」的方法展開藝術實驗。作品探討繪畫、現代藝術、抽象藝術及肖像藝術的本體論與認知關係。

小川移山（Ogawa Izan）：日本美術家／書作家／表現教育家／初心學舍主宰／埼玉縣國際交流協會會員／一般社團法人CCSC理事。曾獲日本書展準大賞、萬紅展千紫會賞等。作品為The Peninsula Tokyo、Joan 宮地之里、伊東小涌園、京都酒店、椿山莊收藏。

尾川和（Ogawa Kazu）：曾參展日本上野之森大賞展、主体美術展、NAU 21世紀美術聯展2021 獎勵賞。NAU in Paris 展、NAU in NY 展。

オギノキヨコ（Ogino Kiyoko）：日本現代纖維作家。自大學時期起，她便與同學朋友（如柴田容子、八鳥七緒、吉井美穂等）共同參與「よきなみ展」等群展，並曾參加台灣的台日交流展，在國內外活躍。她的作品在抽象畫及平面藝術領域受到肯定，透過個展與群展發表其獨特表現風格。

小澤雅美（Ozawa Masami）：日本手工和紙藝術家，以自然素材（如楮、三椏）和手工漉紙技法創作作品聞名。曾在日本浜松的「うみいろ そらいろ」與「風のうし」等畫廊展覽多次。

尾田芳子（Oda Yoshiko）：日本武藏野美術大學造形研究科美術專攻。日本新象作家協會會員。獲得新象展展賞/佳作賞，並入選日本損保Japan美術財團選拔展。

梶山美祈（Kajiyama Miki）：日本京都精華大學研究所藝術研究科博士前期課程藝術專攻畢業。於Gallery Haneusagi及KUNST ARZT每年舉辦個展十多次。京展 松田賞受獎、神戶Meriken Park Oriental Hotel大廳「life」展覽與策劃、下町藝術祭・古民家計畫「時のはじまり」展覽，並參展多次聯展。

片切かすみ（Katagiri Kasumi）：曾獲日本現代美術家展新人賞、美の起原展審查員獎（大杉賞）、Contemporary Art Room Gallery Online Competition “OPEN” 榮譽獎、INFLUENCE GALLERY Online Competition “September Art Competition” Merit Award。

かとうかずみ（Kato Kazumi）：日本愛知縣立藝術大學美術學部大學院。創作足跡遍及世界100多個地點。曾於金屬藝術博物館、 Gallery砂翁、Norton Gallery、畫廊Door、藝術畫廊・繪具箱、古春堂畫廊、 東京都美術館舉辦個展、聯展多次。

金丸順子（Kanemaru Junko）：現為日本NAU（21世紀美術連立展） 正式會員。她的創作長期聚焦於「內在風景」與「光影律動」的轉譯，作品頻繁展出於日本藝術殿堂——國立新美術館，是當代日本抽象畫界中，能將物質性與精神性優雅結合的代表人物之一。曾參展ギャラリー檜 (Gallery Hinoki) 年度精選展、GALLERY AND LINKS 81等。

かみむらみどり（Kamimura Midori）：日本金城學院大學文學部社會學科。於新宿眼科畫廊、3331ArtsChiyoda、The Art complex Center of Tokyo、畫廊檜舉辦個展、聯展多次。曾獲得 「3331 千代田藝術祭 2014」鴻池朋子賞。

加茂富美子（Kamo Fumiko）：日本武藏野美術大學造形學部 雕塑學科專攻，曾任職於千葉縣公立中學擔任美術科教師，舉辦個展多次。

神田風香（Kanda Fuka）：日本書道教育學會 書學院（書道教育學科）。參展於國立新美術館，其作品因獨特的「線性美學」受到跨文化藝術評論家的關注。多次參展ギャラリー檜 (Gallery Hinoki) 、GALLERY AND LINKS 81 等展覽。

グアリノアキ（Guarino Aki）：曾在法國美術學校學習藝術，並在歐洲進行創作活動，2019年起回到富山縣展開藝術活動。藝術家駐留計畫，土蔵のまち資料館（高岡市）、ART/X/TOYAMA in 富山，富山縣民會館、旅鳥藝術祭，舊小羽小學（富山市）。曾獲得美之祭典 越中藝術節2024 優秀獎。

久保木妃呂子（Kuboki Hiroko）：日本太平洋美術會繪畫部運營委員、會員、東京支部成員，該會成立1889 年，前身為明治藝術協會，是日本第一個西式繪畫團體，超過120年的歷史。曾多次參與《日仏現代国際美術展（Salon Blanc）》，於東京都美術館等重要展覽場域展出，亦持續於太平洋美術會年度展中發表新作。其創作風格沉穩而富有節奏感，展現日本當代抽象繪畫中，對於感性與形式之間平衡的細膩追求。

栗原光峯（Kurihara Koho）：師從安部光鄉、森士鄉先生。榮獲「比利時・荷蘭美術賞展」優秀賞、日本文化藝術研究會會員、JIAS（日本美術家國際協會）會員、秋季沙龍展正會員。多次參展日本、法國、韓國、義大利等。

桑山真麻弓（Kuwayama Mayumi）：日本大阪藝術大學工藝學科美術專攻，日本纖維藝術家。曾獲御堂筋燈光秀拍攝景點裝置最優秀賞、MILANO GENIUS（米蘭設計週）兩件作品獲獎、聖彼得堡國際花卉節第一名。日本橋高島屋S.C.本館6樓 美術畫廊、Art & Crafts Gallery gobangura等個展多次。並參加具體美術前輩「[嶋本昭三×AU](http://www.miu-art.com/2020/01/29/%E3%80%8Cvibrant%E3%80%8Dshozo-shimamotoxau-%EF%BC%A0whitestone-garrely-hong-kong-2019104-1117/)」Exhibition 2019 H Queenʼs展。

香西洋子（Kozai Yoko）：日本現代美術家。長期參與於六本木藝術圈，推動日本當代美術的跨界對話與形式創新。多次參展ギャラリー檜 (Gallery Hinoki, Tokyo)、Art Gallery Yamate（橫濱）、GALLERY AND LINKS 81 (銀座)等展覽。

コスター理穂 / Riho Coster：日本武藏野美術大學 造形學部油畫科、摩洛哥國立美術學校 (Institut National des Beaux-Arts, Tétouan)。曾在日本銀座各大畫廊、摩洛哥舉辦個展、聯展多次。

小林哲郎（Kobayashi Tetsuro）：日本武藏野美術大學油畫學科專攻，多次參展獨立美術展、上野之森美術館大賞展、ART BOX大賞展、墨繪展、風之會展・佛羅倫斯賞展獲獎作家展、世界堂繪畫大賞展、JAALA國際交流展等。

今野明子（Konno Akiko）：日本當代女性藝術家。多次參展日本的現代美術展覽。創作主題多圍繞存在感、記憶的殘影、日常中被忽略的片段，以及女性視角下的感知經驗。

坂充央（Saka Mitsuhiro）：日本多摩美術大學美術學部專攻，多次參展千葉多摩美會展之展覽與日本現代美術展。

佐々木綱昌（Sasaki Tsunamasa）：日本鹿兒島大學美術科專攻，日本美術家聯盟會員、AJAC 會員。曾獲日本-法國當代美術世界展日法獎、西班牙美術獎展（歐洲美術俱樂部主辦）、美國美術獎展獲獎（美國・德州）、法國美術獎展（法國・瓦訥市）、第 1 屆損保 JAPAN 美術獎展。

佐藤利予（Sato Toshiyo）：日本現代美術家。作品關注日常感知、內在情緒與時間層次，以細膩而克制的視覺語彙呈現，帶有安靜、沉思性的氣質。

塩見章（Shiomi Akira）：日本東京藝術大學油畫科專攻，於MMG版畫工房擔任藝術總監。在日本小杉畫廊個展多次、代理畫廊為kaneko art gallery。

芝谷桂（Shibatani Kei）：日本當代視覺藝術家，活躍於東京及關東地區。其創作涵蓋抽象繪畫及多媒材表現，注重色彩、形態與構圖的節奏感，作品呈現細膩而內省的視覺語言，強調觀者與作品之間的互動與感知共鳴。參展韓日美術家交流展「WAVE 25」（韓國‧首爾）、現代藝術國際展（AU 展）等展覽。

SHUICHI GOTOH：巴西聖保羅 Fundação Armando Alvares Penteado 大學美術科（FAAP 美術大學）、Hiko Mizuno Jewelry College（HIKO 水野珠寶學院）。日本珠寶設計師／畫家／巴西產彩色寶石專家。

晶蔵（Shozo）：日本京都藝術大學研究所主修藝術學與文化遺產領域，研究「藝術中的知覺生成與創造」。參與亀山三年展（Kameyama Triennale）等藝術展、專注於藝術中的知覺生成與創造。

末本太丸（Suemoto Taimaru）：日本藝術家。多次參加位於東京中央區指標藝廊Gallery Hinoki (ギャラリー檜)的選拔展。藝評界認為其作品在冷峻的當代藝術潮流中，保留了溫潤的人文質地。他不追求視覺的暴力，而是邀請觀者在層層色彩的疊加中，發現時間與記憶的重量。

菅野純子（Sugano Junko）：日本武藏野美術短期大學 美術科油畫專攻。春陽展新人獎、多次在富山國際美術交流展、富山縣民會館美術館、韓日美術交流展、符拉迪沃斯托克視覺藝術雙年展（俄羅斯）、富山國際當代美術展展出。

杉山まさし（Sugiyama Masashi）：日本現代美術家，大約在 2012 年，他以《裂開的大地與牛的吶喊》之類的作品舉辦個展，並且在 非洲藝術博物館 中也被列為相關作家。現代美術群展：在 2025 年 1 月舉辦的「日本第23回NAU21世紀美術連立展」與其他作家共同參展。

スズマドカ（Suzumadoka）：日本現代美術家。

鈴木齊（Suzuki Hitoshi）：日本東京學藝大學大學院美術教育專攻畢業（學部主修陶藝）、創作受到受到星野道夫著作《旅をする木》的啟發。東京都現代美術館「再一次的圖工時間」、「野口勇展」工作坊講師、在八重洲畫廊、羽村・Yutorogi、TAMA Art Walking、芽がでるプロジェクト W・S、奧多摩町立溪流之里美術館、國立新美術館、銀座 K’s Gallery、Gallery 檜 、東京都美術館舉辦個展、聯展。

関野凛太郎（Sekino Rintaro）：日本大阪藝術大學（Osaka University of Arts）研究所藝術製作專業博士課程。Shell美術賞2017 學生特別獎、作品獲三菱商事Art Gate Program 入選並收藏、多次參展ART OSAKA、GALLERY ART POINT、Gallery Subaru、義大利M.A.D.S ART GALLERY。

平昇（Taira Noboru）：日本當代視覺藝術家，活躍於東京及日本國內的藝文空間。其作品曾於東京銀座的藝廊舉辦個展，展示創作者的作品世界，並參與多場國內外群展，持續活躍於日本當代藝術圈。個展「平 昇 展」｜銀座・コバヤシ畫廊（GALLERY KOBAYASHI）為日本國立新美術館收錄。

高橋詩桜里（Takahashi Shiori）：日本九州産業大學大學院博士前期課程、多次參展NAU 21世紀美術連立展、亞洲美術家聯盟日本委員會展。

髙橋俊明（Takahashi Toshiaki）：日本NAU21世紀連立展會長、日本東京學藝大學大學院修士課程繪畫講座。多次參展每日新聞社主辦《日本國際美術展》、岡本太郎紀念現代藝術大賞展、NICAF展、平福紀念美術館，並於日本東京銀座各大畫廊、巴黎、紐約舉辦個展、聯展。

鷹嘴直（Takanohashi Nao）：多次參展富山國際現代美術展、符拉迪沃斯托克視覺藝術雙年展（俄羅斯）、CAF Nebula展。並曾在日本東京、新瀉、法國巴黎、美國紐約、波蘭格羅杰克、土耳其伊斯坦堡舉辦個展、聯展。

田嶋初（Tajima Hajime）：師從日本大甕陶苑竹内彰（日本工藝會正會員、師從富本憲吉與近藤悠三）、多次在千種畫廊、cafe EARLY BIRD、ギャラリーヒロイ、O畫廊 UP・S、枇杷俱樂部畫廊與國立新美術館舉辦個展與聯展。

田島弘行（Tajima Hiroyuki）：畢業於東京藝術大學油畫科，並於同校研究所版畫研究室深造。版畫個展於京王版畫沙龍、Poem 企劃展、地球堂畫廊、版畫協會展，油畫個人展覽於地球堂畫廊、さえぐさ畫廊、Gallery KINGYO藍畫廊、小杉畫廊等展出。

田中みづほ（Tanaka Mizuho）：日本岐阜縣知事賞、《Quilt Japan》雜誌  評審賞，多次在銀座巷房、K's Gallery、新宿Co-op Hall、橫濱1010美術、橫濱FEI ART MUSEUM與座SILVER SHELL舉辦個展、聯展。

田畑理恵（Tabata Rie）：日本東京學藝大學大學院聯合學校教育學研究科課程，擁有教育學博士學位。書法師從米島清鶴與金子卓義，抽象畫師從Steven Cushner。現任都留文科大學、山梨縣立大學兼任講師。曾在日本國立新美術館、巴黎Espace Sorbonne 4、美國Orchard Gallery、美國DC Corcoran College of Art + Design 校友畫廊舉辦個展。

田村武（Tamura Takeshi）：2017年舉辦的 札幌國際藝術祭（Sapporo International Art Festival 2017） 中，以製作關係者／參與者身份列名。天神山藝術工作室駐地藝術家／參與者名單中，參與了該工作室的創意專案計畫。

知京一樹（Chikyo Kazuki）：日本現代美術家。

チサカマキ（Chisaka Maki）：日本現代美術家。

通天櫻井洋美（Tsuten Sakurai Hiromi）：1947年生於名瀬市，小學五年級時，其兒童畫作品曾12次獲得全國獎項。1971年，首次參加關西獨立展，故池島勘治郎畫伯對其才華印象深刻，成為其學生。1973年，入選東京獨立展。1976年，獨立美術協會會友。她曾進行30多個國家的海外取材旅行，在日本舉辦24次個展，並於紐約舉辦4次個展。

津田智子（Tsuda Tomoko）：日本現代美術家。

トウキョウタカシ（Tokyo Takashi）：日本上智大學經濟學部經營學科，日本現代美術家。曾獲巴黎攝影大賽（PX3）、國際攝影獎（IPA）、藝術攝影獎（FAPA）、倫敦國際創意大賽、布達佩斯國際攝影獎，榮譽獎。多次在Gallery HINOKI舉辦個展。

戸沼牧子（Tonuma Makiko）：日本東京藝術大學大學院油畫科修畢。每年在銀座K’s Gallery舉辦個展、聯展，亦曾參加CAF.N橫濱展。

土門理恵（Domon Rie）：具有混合媒材與彫金藝術背景的日本當代藝術家，既有傳統美術訓練（油畫）、也具深厚的工藝與表現基礎。她的作品及創作活動跨越繪畫、雕金與裝置語彙；透過參與台日文化交流展、日本當代藝術聯展等活動，逐步在當代藝術圈建立實際展出經驗。

豊崎旺子（Toyosaki Okiko）：日本美術家聯盟會員。曾多次在經堂畫廊、銀座 Futaba 畫廊、藤澤沙龍 Mercedes、銀座牧神畫廊、銀座 Atelier TK、Gallery Regalo、Gallery The Earth、O Gallery等舉辦個展、聯展多次。

中島優理（Nakajima Yuri）：日本文化服裝學院畢業。參展上野之森美術館、河北美術展、C7畫廊、Gallery 五番街等舉辦8次個展。聯展版畫宮城展，以及其他多次群展。

中村白蘭（Nakamura Hakuran）：日本當代視覺藝術創作者，其作品曾出現在日本重要的藝術聯展與國際／跨文化交流展中。以**稀有絲綢與大相撲化粧廻し使用的絹糸**創作為素材進行「宇宙的胎動」等形式的實驗性裝置或媒材藝術。

西田裕子（Nishida Yuko）：日本當代視覺藝術家，從事繪畫與影像/平面創作。其作品曾於東京等地舉辦個展、二人展以及當代美術聯展展示，關注觀者對作品的停留與感受，呈現細膩凝視的視覺語彙。主要展出包括 2021 年個展《ふと立ち止まる》、2024–25 年二人展及第 24 回《NAU 21 世紀美術連立展》參展等。

二宮ちとせ（Ninomiya Chitose）：活躍於日本當代美術圈的視覺藝術創作者，其作品曾出現在日本重要的藝術聯展名單，顯示她的創作實踐及展出經驗。她以多樣視覺語彙進行表現，並在展覽中呈現富有個人特色的藝術作品。其作品曾參與具代表性的當代美術活動。

仁平和幸（Nihira Kazuyuki）：一位以「色彩的構築性」與「光影的層次」為創作核心的日本當代藝術家。現為 NAU（21世紀美術連立展） 的正式會員。長年參加位於東京京橋地區ギャラリー檜 (Gallery Hinoki)的年度展。該畫廊是日本推廣中堅實力派藝術家的重要基地。

NIL：日本現代美術家。曾多次參展於Bar SiSi 築地、no.12 畫廊（澀谷）、國立新美術館、東京／日之出、P-KOEN（目黑）。

野村雅美（Nomura Masami）：日本音樂家與藝術家。1986年起以即興吉他手身份開始活動。2002年起以抽象畫家身份發表作品。參與了個展、群展及現場繪畫（Live Painting）等多種展出活動。其以丙烯顏料創作的作品，被評價為「如宇宙般或如細胞般的畫作」

宣和（Senwa）：坂元宣和的作品時常以從自然與風景中獲得靈感的動態色彩和構圖為其特徵，透過在畫廊舉辦個展以及參加「NAU」等主要聯展，持續地發表作品。以東京都內的畫廊為中心，定期舉辦個展。

橋谷勇慈（Hashiya Yuji）：**日本NAU 21世紀美術連立展事務局局長**，日本名古屋大學電氣電子學科（**諾貝爾物理獎得主 赤崎勇研究室成員**）。多次在東京正光畫廊、Gallery HINOKI、Gallery Natsuka舉辦個展。日本–西班牙交流展、NAU 21世紀美術連立展（國立新美術館；東京）、CAF Nebula展（埼玉縣立近代美術館）。

服部牧子（Hattori Makiko）：日本現代陶藝家、NHK文化岐阜日曜陶藝教室講師。多治見市美術展市長獎、1992年陶瓷設計製作團體「The Earth」（創始成員）、中日韓國際陶瓷博覽會、JCAA受獎作家七人展，紐約、巴黎、東京等地畫廊、美術館聯展。

濱﨑道子（Hamasaki Michiko）：日本東京學藝大學書道科專攻。橫濱墨の美術館館長。銀座鳩居堂個展超過20回，多次於巴黎Galerie Grand Paris、坎城、倫敦、華沙・文化科學宮、西班牙巴達霍斯市舉辦個展與聯展。

浜田夏子（Hamada Natsuko）：日本東京藝術大學美術學部油畫主修（師從脇田和、中谷泰），在椿近代畫廊、原宿竹下畫廊、Shirota Gallery、Gallery '90原宿表參道、Gallery Natsuka舉辦個展。多次參與地球色展，府中市美術館聯展。

林和子（Hayashi Kazuko）：日本BKS會員。師承日本萬花鏡藝術家第一人師承山見浩司先生。於九州藝文館、門司三井俱樂部、東急Hands博多店、天神PARCO Hands Cafe、環境博物館、銀座Vivian舉辦個展、聯展多次。

針谷智子（Hariya Tomoko）：日本現代陶藝家，愛知縣立瀨戶窯業陶藝專攻科。師承志賀重雄與川原康孝。曾於倫敦、巴黎舉辦個展。

HIROMI TOMINAGA：日本現代美術家，日本多摩美術大學 Tama Art University美術專攻，多次於日本銀座各大畫廊舉辦個展與聯展。富永的創作以大型畫作為特色，經常在個展與展覽活動中展示其作品，關注色彩、構圖與形式上的表現。

FASC：日本現代美術家。

深尾良子（Fukao Ryoko）：日本女子美術大學藝術學部繪畫科西洋畫專攻。茨城縣展奬勵賞、茨城縣展特賞、新象展佳作賞、新象展協會賞。於すどう美術館、ギャルリー志門、銀座 K's Gallery個展多次。

福田瑞枝（Fukuda Mizue）：插畫作品發表於現代思潮社出版的《日本不思議物語集成八》〈雨月物語・春雨物語〉。於村松畫廊、なびす畫廊、珈琲驢馬とオレンジ、PEACE RABBIT等個展多次。多次參展〈地球色展〉世田谷美術館區民畫廊展覽。

藤下覚（Fujishita Satoru）：日本武藏野美術大學修了製作優秀賞展。於茶房よしつね家畫廊、Gallery 風、櫟畫廊、上尾市役所畫廊、Gallery 檜 e・F、K’s GALLERY、Art Gallery 月桂樹個展多次。主要獲獎：新構造展（草壁賞）、獨立美術協會展（新人賞）、上野之森美術館大賞展（雕刻之森美術館賞）、日本全國公開美術展秀作選（佳作賞，刊載於 bun-ten vol.49）

萌翠（Hosui）：日本墨人會（創立者有[森田子龍](https://www.sothebys.com/zh/auctions/ecatalogue/2018/brushwork-iii-abstract-masters-hk0832/lot.123.html)，以及[井上有一](https://www.christies.com.cn/zh/lot/lot-6001809)等人，為現代書法的起源團體）成員。墨人京都展墨人賞。每年參展墨人會展覽。

HOLEE：韓國梨花女子大學西洋畫科專攻。曾於韓國官勳美術館（首爾）、清談美術館（首爾）、川口綜合文化中心・LILIA（日本）、國立新美術館 NAU展 Booth個展舉辦個展。並於國立現代美術館／首爾、法國文化院／首爾、IN畫廊／首爾、Talay美術館／首爾、三井美術館／首爾、Gallery Metanoia／巴黎、The Nippon Gallery／紐約參與聯展。

万城目純（Manjome Jun）：日本的跨界藝術家，以其在舞蹈、視覺藝術、影像、美術和身體表現等領域的多樣化創作而聞名，探索「身體與社會」的關係。他畢業於和光大學，其影像作品曾參加鹿特丹國際電影節、ICA電影院、MHKA美術館 (安特衛普) 等國際活動。

Masaya Iwasaki：日本現代美術家。曾於銀座Modern Art、Art Imagine Gallery、Gallery Knulp、Art Imagine Gallery、GALLERY ART POINT、國立新美術館、Galerie Métanoïa、The Nippon Club（紐約）舉辦個展、聯展多次。

松下佐代（Matsushita Sayo）：日本現代美術家。曾參展熊本縣美術家聯盟展、Pangea。25周年紀念 紐約展（紐約）、Art International Zurich（蘇黎世）、亞洲美術家聯盟 日本委員會展（福岡，亞洲美術館）、NAU 21世紀美術連立展（東京，國立新美術館）多次。

松村清司（Matsumura Kiyoshi）：日本現代美術家。作品風格以精細與現代感的繪畫及裝置為主。展覽呈現他最新創作的系列作品，透過材質與色彩的探索展現對自然與都市景觀的詮釋。

Maho Laplante：美國紐約藝術學生聯盟優秀獎學金、Lloyd Sherwood獎助金。並於紐約林肯中心 Cork Gallery、元麻布Gallery、The Rising Arts Gallery、Cabrillo Art Cave、國立新美術館、Galerie Métanoïa（巴黎）、Gallery Siacca舉辦個展、聯展多次。

光行洋子（Mitsuyuki Yoko）：日本佐賀大學教育學部特設美術科繪畫專攻。九州產業大學名譽教授、日本美術家聯盟會員。擔任亞洲國際美術展副代表、福岡文化聯盟理事，並參與福岡縣美術協會洋畫部運營委員等工作。其作品主要收藏於福岡縣立美術館、福岡市美術館、福岡女子大美術館、田川市美術館，以及馬來西亞國立美術館、英國布萊頓大學等多個國內外美術館。

文珠川清（Monjugawa Kiyoshi）：日本大學藝術學部美術學科美術專攻。Salon Blanc 美術協會、日法現代美術展執行委員長、日本美術家聯盟 會員。曾參展於德國 「Wallauer-Fachwerk 展」、韓國 「ICA國際現代美術展」、韓國 「白石大學美術館展」。

やちぐちひろゆき（Yachiguchi Hiroyuki）：日本現代美術家。曾於國立新美術館、GALERIE SOL、飛之台史跡公園博物館、Bijutsu Kodo Seyo、GALERIE SOL、Gallery kingyo參展。

柳谷みち代（Yanagiya Michiyo）：日本當代墨與書寫創作者，擅長以筆墨表現線條、空間與形式的關係，其作品在墨展、畫廊二人展及地方群展中呈現，展現出與傳統與當代表現語彙之間的結合。

山内孝一（Yamauchi Koichi）：日本和光大學人文學部藝術學科美術專攻。曾於駒井畫廊、橫濱・神奈川縣民Hall、長野縣伊那文化會館、長野縣飯田創造館、長野縣飯田市・Art House、長野縣・飯田市立美術博物館、長野縣・辰野町立美術館個展、聯展多次。

山崎倖子（Yamazaki Sachiko）：從井原優山（日本現代水墨畫會同人）、土屋範人。於Gallery 榧、iClub、Art Gallery 京橋、Gallery Miharaya、Art Salon Across、福岡市美術館、O Gallery、Gallery 坂舉辦個展數十回。

山田陽子（Yamada Yoko）：日本當代美術界的文化交流推廣者與網絡建構者，擔任 Asian Artists Network（亞洲藝術家網絡） 社長。該組織致力於促進日本與亞洲各國藝術家的聯繫與合作，並透過其活動支援國際藝術計畫與展覽。

山根真奈（Yamane Mana）：日本畢業於武藏野美術大學工藝工業設計學科陶藝專攻。於東京Visee Art Gallery、東京巷房個展多次。於妖怪物件競賽獲得境港市教育長獎、川口市美術展 市長獎。

柳賢淑（Ryu Hyun-suk）：韓國 弘益大學美術大學院、法國 巴黎ACADÉMIE DE LA GRANDE CHAUMIÈRE（大茅舍藝術學院，1904年成立，莫迪利亞尼、夏卡爾、賈科梅蒂皆來自該校） 留學。收藏機構：韓國國會議事堂、現代汽車、三星 (SAMSUNG)、韓國通用汽車 (General Motors Korea)、韓國賓士 (Benz Korea)、日本銳跑 (Reebok Japan)、樂天 (Lotte)等。

YU-KI：日本フォトコミュニケーション®協会（Photo Communication® 協會）碩士課程。獲PCA賞、M84賞。曾於Artcomplex Center、Art Gallery M84、Space K（東京代官山）、渋谷マルイ、IAI Gallery、Gallery RDECO等個展多次。

YUKIKO：美國Emerson Umbrella Center for the Arts水彩專攻。曾於檜畫廊、水彩聯盟展、水彩人展、水彩人小品展、NAU 21世紀美術連立展、Element 2020、M.A.D.S. ART GALLERY，義大利米蘭、世田谷美術館舉辦個展、聯展多次。

湯沢茂好（Yuzawa Shigeyoshi）：日本OBARA 美術研究所（師從 小原泫祐先生，曾創辦飯田市組成寫實主義美術家團體、美術研究所）。IIDA･B KEN成員。於AU（藝術家聯盟），在[具體美術](https://www.whitestone-gallery.com/zh-hant/pages/gutai)創始成員[嶋本昭三](https://www.christies.com/zh/lot/lot-5853195)的企劃下，於國內外參展多次，如東京、長野、新宿、韓國首爾等舉辦個展、聯展多次。

吉原緑香（Yoshihara Ryokka）：日本現代美術家。作品在日法現代美術世界展（第25屆）中榮獲優秀獎，以及在第6回國際書畫展中獲得金獎，顯示她的創作已受到多方國際藝術評審的肯定。

和田幸三（Kozo Wada，deceased）：2025年6月逝世。於日本橋巴里畫廊、日本橋 藝術廣場、銀座 シロタ畫廊、銀座 櫟畫廊、銀座 シロタ畫廊、座 Gallery NAMIKI、京橋 ギャラリー檜B・C等個展多次。【主要公募展】1972-1975 新象展、1977-1985 行動展。

和田廣司（Hiroshi Wada）：活躍於日本現代美術界的當代藝術家，其作品風格涵蓋城市、建築、空間及抽象表現等主題，特別與日本現代美術重要展覽 NAU 21世紀美術連立展 有密切關係，多次受邀參展與推薦參與國際交流展覽。他的創作結合了東方傳統與當代視覺語彙，展現敏銳的形式構成與深刻的空間思考。

渡邊健吾（Watanabe Kengo）：本現代美術家。曾多次參展ACT藝術大賞展、「第43回國際美術大賞公募展」獲得準大賞、於The Artcomplex Center of Tokyo、The Nippon Gallery at The Nippon Club、銀座長谷川畫廊、GALLERY ART POINT舉辦個展、聯展多次。

渡邊佐和子（Watanabe Sawako）：日本NAU21世紀美術連立協會前會長、日本墨人會（日本戰後現代書法團體，由由森田子龍、井上有一、江口草玄等組成）成員。師從比田井南谷、森田子龍。於東京都美術館、小杉畫廊、大阪くらしの今昔館畫廊、Gallery 草、知恩院和順會館、京都市美術館別館、Gallery Hide and Seek、橫濱赤磚倉庫、京都市美術館、京都文化博物館舉辦個展、聯展多次。

渡辺信好（Watanabe Nobuyoshi）：日本愛知縣立藝術大學研究所美術研究科美術專攻。曾於AC S名古屋、銀座村松畫廊、千葉ギャラリー睦舉辦個展多次。並曾多次參展A-21波蘭國際交流展、柏林–東京國際交流展、NAU 21世紀美術連立展多回。

蕨迫みのり（Warabisako Minori）：活躍於日本當代藝術界的視覺藝術家，出身於東京，她的作品融合抽象表現與敘事性人物肖像，透過咖啡獨特的色調與質感描繪情感、生命力與自然元素，形成極具個人特色的藝術語彙，其作品在Saatchi畫廊長年展示。被St. Augustine Episcopal Church（紐約） 永久收藏。擔任 Azamara Cruises 藝術家駐村（Artist‑in‑Residence），以藝術家身份巡迴世界各地展出並留下作品。

福江悦子（Etsuko Fukue）：日本真宗大谷派僧侶。北海道美術協會會友、在京都市美術館、札幌市民畫廊、釧路美術館、旭川市民文化會館、Hirama畫廊、TOOV Café（札幌）、小樽市立美術館、國立新美術館、Galerie 志門、等舉辦個展與聯展多次。ART TAIPEI 2024｜台北世界貿易中心（由 L.c.m Gallery 參展）、PESCARART 2024｜義大利佩斯卡拉→ 榮獲國際當代藝術獎（Premio Internazionale di Arte Contemporanea）-〈當藝術巧遇咖啡香〉｜L.c.m Gallery 策劃（台北 George House）。

連瑞芬 （LIEN Jui-Fen）：現任臺灣女書法家學會理事長、澹廬文教基金會董事長、澹廬書會/傑閣書會/中華藝術研究院院務諮詢委員。曾於高雄明宗書法藝術館、文化大學大夏藝廊、高雄文化中心、新北藝文中心、帕帕拉夏藝文中心、新北市議會、世貿三館、大墩文化中心、國立國父紀念館舉辦個展多次。

姜金玲 （Jiang Jinling）：台灣東海大學膠彩畫美術專攻，師從姜一涵和張貞雯。為台灣新住民，曾於山東與台北舉辦多次個展、聯展。

陳福祺 （CHEN FU-CHI）：台灣本土攝影聯誼會會長/廣角攝影俱樂部會長、中華書道學會理事、中國藝術家協會監事、歷任台北巿鋼琴調音業職業工會理事長、台灣國家兩廳院長期簽約音樂會調音師。曾於上海國際攝影藝術展、法國巴黎國際藝術博覽會、台北世貿一舘、印度-台灣國際當代藝術舉辦個展與聯展多次，攝影書畫創藝作品常蘊含音樂性韻律動靜美。

廖純沂 （Liau,Chun-Yi）：台灣中山醫學大學醫學研究所博士。中華民國書學會、台灣書法學會、中國書法學會、臺中市書法學會、台中藝術家俱樂部、雲林縣藝文學會等 社團之永久會員或一般會員。書法和水墨作品曾參與國內競賽，獲佳作及入選等獎項；積極參加國內、外，如日本國立新美術館、韓國首爾等書畫展出。

王詮富 （WANG-CHUAN FU）：台灣台北藝術大學美術創作研究學碩士學位。台灣懷竹居書畫藝術學院藝術總監、樹人醫護專修講師。曾於台灣高雄文化中心舉辦個展多次。

李佳玲（ Lee, Jia-Ling）：台灣皇墨藝藝術公司董事長。曾於育達科技大學、松菸誠品時裝秀、苗北藝文中B1展覽藝廊、嘉義市國稅局、嘉義鐵道藝術村五號倉庫等舉辦個展、聯展多次。曾獲台灣全國學生美展西畫類、水墨類佳作。

吳采恩（Wu,Tsai En）：台灣高雄師範大學美術系研究所美術專攻。曾被推薦於中國兩岸杭州美術學院、江西美術館、北京師大、台灣「藝術新聲」優秀學生作品交流展，以及韓國釜山等地展出。2025年，入選日本第81回現展，於國立新美術館（東京）展出。

王穆提（Wang Muti）：日本NAU21世紀美術連立協會台灣首位成員、日本現代美術家協會（現展）台灣連絡所所長。曾獲日本現展〈俊英作家展〉、東京現展獎勵賞、神奈川現展優秀賞。曾策展[日展審查員與台灣藝術家聯展、並策展台日交流展高規格展覽十多回。撰寫藝術評論刊登日本橫濱[《SAKURA》]並刊印5萬本、參與規劃日本台灣現代藝術家與台灣國立故宮博物院美術年鑑特輯、並曾與北京798等媒體合作。協助超過2,000位藝術家架設獨立的數位美術館資料庫專案。

 Overview of the Participating Artist

Participating Artists of the 24th Exhibition (Including NAU 21st Century Art Federation Members and Recommended Juried Nominees):

• Aoki Kuniko: Studied under Yuji Shirao (who led the Japan-France Modern International Fine Arts Exhibition as the President of the Salon Blanc Art Association). Recipient of the French Embassy Award and the Minister of Education, Culture, Sports, Science and Technology Award at the Japan-France Modern Art Exhibition.
• Akiko SIACCA: Graduate of Tama Art University, Japan. Has held approximately 700 solo and group exhibitions in museums and galleries. She is a contemporary artist and the Director of Gallery Siacca in Ginza, Tokyo.
• Asano Akane: Graduate of the Western Painting Department at Kyoto University of the Arts. Participated in the Independent Joint Special Exhibition (GALLERY DEN) in the Spinnerei Art District, Leipzig, Germany, and ART MELBOURNE (Mayumi International).
• Anazawa Makoto: Recipient of the Prefectural Governor’s Award at the Chiba Prefecture Exhibition. Frequent participant in the Niki Exhibition and the Contemporary Artist Center Exhibition.
• Abe Masamitsu: Held the "Abe Masamitsu Print Exhibition" in commemoration of receiving the Awa Japanese Paper Hall Award.
• Arakawa Kumiko: Specialized in the Printmaking Course of the Painting Department at Tokyo Zokei University. Held dozens of solo and group exhibitions at Ginza Towa Gallery, GINZA Gallery Artist Space, Japan-Korea Exchange Art Cosmos Exhibition, Gallery Hinoki, Gallery SHIMIZU, Galerie Shimon, and K’s Gallery.
• Aretokorekoko: Graduate of the Sculpture Department at Kyoto City University of Arts. Held nearly twenty solo exhibitions at Mint Kobe, MANIFESTO GALLERY, ART GALLERY UMEDA, Isetan Shinjuku (Main Building 6F Art & Frame), Hanshin Umeda Main Store (Hello Culture 2), and Kyoto Dohjidai Gallery. Dozens of group exhibitions at the National Art Center, Tokyo, Hyogo Prefectural Museum of Art, and Kobe Kitano Museum. Recipient of the "Independent Tokyo 2022" Jury Special Award (Takashi Kobayashi Award / INTERART 7) and the "SICF23" Jury Award (Natsumi Araki Award).
• Iida Minoru: Graduate of the Oil Painting Course, Faculty of Fine Arts at Tokyo University of the Arts. Recipient of the Ito Kisaku Award (named after the giant of Japanese stage design).
• Ishii Hotan: Judge of the Mainichi Shodo Exhibition and avant-garde calligrapher. He transforms traditional Kanji calligraphy into a cross-border abstract visual art. Unlike traditional calligraphers, he emphasizes "three-dimensionality" and "spiritual explosiveness" of ink traces in space. Regarded as a key figure in bringing Japanese ink culture to the international contemporary art stage. Frequently invited to exhibit in Italy, Germany, and France, successfully introducing the modernity of Japanese "Sumishi" (ink art) to Western audiences. Participant in the "Echoes of the Tide" Contemporary Calligraphy Exchange Exhibition, promoting cross-regional dialogue in contemporary calligraphic arts.
• Ishii Mitsuko: From an artistic family, including her father, sculptor Ishii Tsuruzo, and her brother, Ishii Hakutei. Primarily active in the field of Japanese contemporary art, with deep research into lifestyle design and classical fine arts. One of the representative figures of modern Japanese art.
• Isozaki Noriko: Committee member of the Painting Department of Ichiyokai. Specialized in Plastic Arts, Department of Art Studies, Faculty of Arts, Joshibi University of Art and Design. Numerous exhibitions at Galerie Shimon, Tokyo Metropolitan Art Museum, Heilongjiang Provincial Art Museum, and Tokyo Bunka Kaikan. Recipient of the Pan-Pacific Exhibition Canada International Cultural Exchange Association Award, the Ichiyo Award, the Semi-Grand Prize, and the Member Award.
• Ito Rieko: Specialized in Fine Arts Research at Musashino Art School. Early participant in the Free Art Exhibition, Pyeongtaek International Art Festival, Meguro Contemporary Art Exhibition, and Korea-Japan Art Exchange Exhibition.
• Inoue Ikko: Specialized in Fine Arts at Ritsumeikan University. Leader of Ichibokukai, Director of the Zitong Character Research Institute, member of the Fukuoka Cultural Federation, and recipient of the Fukuoka City Cultural Award.
• Inoue Kenichi: Specialized in Printmaking at Sokei Academy of Fine Arts & Design. Participated in the Oya Underground Art Exhibition, TWO WEEKS IN THE SPRING, and Naguriko Outdoor Art Exhibition.
• Uesugi Michiko: Japanese contemporary artist who has held numerous solo and group exhibitions at Shirota Gallery.
• Udagawa Nobuhito: Master’s degree from the Graduate School of Fine Arts, Tokyo University of the Arts. Professor Emeritus at Kyushu Sangyo University, Visiting Artist at the University of Pennsylvania, Chairman of the Fukuoka City Art Federation, Standing Director of the Fukuoka Japan-British Society, and Representative of the Asian Artists Association Japan Committee.
• Uchihira Toshihiro: Graduate of the Sculpture Department, Faculty of Arts, Nagoya University of the Arts; graduated from KOBATAKE Studio. Recipient of the Jury Special Award at the Hands Grand Prize Exhibition. Held exhibitions at the Museum of Modern Art, Saitama, Shinjuku Mitsukoshi Museum of Art, Ishikawa Prefectural Museum of Art, Nagoya City Museum, and Aichi Prefectural Museum of Art.
• woga: Dedicated to expressing natural landscapes and phenomena through repetitive drawing resembling automatic writing. Held numerous solo and duo exhibitions at Shinjuku Ophthalmologist Gallery, The Artcomplex Center of Tokyo, and Jun Kikuchi Graphic.
• Okada Shigetada: Japanese contemporary artist.
• Okamoto Naoe: Worked in the Design Department of Nissan Motor Co., Ltd. for approximately 17 years before studying Fiber Art at the Musashino Art University Graduate School. Currently a part-time lecturer at Joshibi University of Art and Design. Recipient of the Antonio Ratti Award and the Best in Show Award at Fiberart International (USA).
• Okayama Masaki: Specialized in Fine Arts at the Graduate School of Concept Design, Kyoto University of the Arts. Studied philosophy under Professor Takeshi Umehara, screenwriting under Professor Yoshikata Yoda (screenwriter for director Akira Kurosawa), and production under Professors Seinosuke Sekine and Kozo Mio. Works are in the collections of the National Museum in Krakow (Poland) and the Center for Contemporary Art, Warsaw (Poland). Shifted from Systemic Iconography to Ontological Art, conducting experiments through the "Conception-Architecture" method. Explores the ontological and cognitive relationship between painting, modern art, abstract art, and portraiture.
• Ogawa Izan: Japanese artist / calligrapher / expression educator / Leader of Shoshin Gakusha / Member of the Saitama International Association / Director of CCSC. Recipient of the Semi-Grand Prize at the Japan Calligraphy Exhibition and the Chishikai Award. Works are in the collections of The Peninsula Tokyo, Joan Miyaji no Sato, Ito Kowakien, Kyoto Hotel, and Chinzanso.
• Ogawa Kazu: Exhibited at the Ueno Royal Museum Grand Prize Exhibition, Sh主体 Art Exhibition, and received the Encouragement Award at the NAU 21st Century Art Federation Exhibition 2021. Participated in the NAU in Paris and NAU in NY exhibitions.
• Ogino Kiyoko: Japanese contemporary fiber artist. Since university, she has participated in group exhibitions such as "Yokinami Exhibition" with peers like Yoko Shibata and Miho Yoshii. She has been active internationally, including Taiwan-Japan exchange exhibitions. Recognized in the fields of abstract painting and graphic art.
• Ozawa Masami: Japanese handmade Washi paper artist, famous for using natural materials (such as Kozo and Mitsumata) and traditional papermaking techniques. Exhibited frequently at galleries such as "Umiiro Sorairo" and "Kaze no Ushi" in Hamamatsu.
• Oda Yoshiko: Specialized in Fine Arts, Graduate School of Art and Design, Musashino Art University. Member of the Shinsho Artist Association. Recipient of the Exhibition Award / Honorable Mention at the Shinsho Exhibition; selected for the Sompo Japan Fine Art Foundation Selection Exhibition.
• Kajiyama Miki: Graduate of the Master’s program in Fine Arts, Graduate School of Art, Kyoto Seika University. Held more than ten solo exhibitions annually at Gallery Haneusagi and KUNST ARZT. Recipient of the Kyoten Matsuda Award; curated the "life" exhibition at the Kobe Meriken Park Oriental Hotel lobby and the "Toki no Hajimari" project for the Shitamachi Art Festival.
• Katagiri Kasumi: Recipient of the Newcomer Award at the Modern Japanese Artists Exhibition, the Jury Award (Osugi Award) at the Art Origin Exhibition, and Merit Awards in various international online competitions (Contemporary Art Room Gallery, INFLUENCE GALLERY).
• Kato Kazumi: Master’s degree from the Faculty of Arts, Aichi Prefectural University of Fine Arts and Music. Creative footprint spans over 100 locations worldwide. Numerous exhibitions at the Metal Art Museum, Gallery Sao, Norton Gallery, Tokyo Metropolitan Art Museum, and various galleries.
• Kanemaru Junko: Current full member of the NAU 21st Century Art Federation. Her work focuses on the translation of "inner landscapes" and "rhythms of light and shadow." Frequently exhibits at the National Art Center, Tokyo. One of the representative figures in Japanese contemporary abstract painting who elegantly combines materiality and spirituality.
• Kamimura Midori: Graduate of the Department of Sociology, Faculty of Letters, Kinjo Gakuin University. Numerous exhibitions at Shinjuku Ophthalmologist Gallery, 3331 Arts Chiyoda, and The Artcomplex Center of Tokyo. Recipient of the Tomoko Konoike Award at "3331 Chiyoda Art Festival 2014."
• Kamo Fumiko: Specialized in Sculpture, Faculty of Art and Design, Musashino Art University. Formerly a fine arts teacher in Chiba public middle schools. Has held multiple solo exhibitions.
• Kanda Fuka: Graduate of the Shogakuin (Calligraphy Education Department), Japan Calligraphy Education Society. Her work at the National Art Center, Tokyo, has gained attention from cross-cultural art critics for its unique "linear aesthetics."
• Guarino Aki: Studied art at a French art school and practiced in Europe. Returned to Toyama Prefecture in 2019. Artist-in-residence at the Tsuchikura Town Museum (Takaoka City). Recipient of the Excellence Award at the Etchu Art Festival 2024.
• Kuboki Hiroko: Executive Committee Member of the Painting Department of the Pacific Art Society (established in 1889, formerly the Meiji Art Association, the first Western-style painting group in Japan with over 120 years of history). Frequent participant in the Salon Blanc (Japan-France Modern International Art Exhibition) at the Tokyo Metropolitan Art Museum. Her style is steady and rhythmic, showcasing a delicate pursuit of balance between sensibility and form.
• Kurihara Koho: Studied under Mitsusato Abe and Shigou Mori. Recipient of the Excellence Award at the "Belgium-Netherlands Art Award Exhibition." Member of JIAS (Japan International Artists Association) and a full member of the Salon d'Automne.
• Kuwayama Mayumi: Graduate of the Craft Department, Osaka University of Arts. Fiber artist. Recipient of the Grand Prize for the Midosuji Illumination Photo Spot Installation and 1st Place at the St. Petersburg International Flower Festival. Participated in the "Shozo Shimamoto x AU" Exhibition 2019 in Hong Kong.
• Kozai Yoko: Contemporary Japanese artist active in the Roppongi art circle, promoting cross-border dialogue and formal innovation. Frequently exhibits at Gallery Hinoki (Tokyo) and GALLERY AND LINKS 81 (Ginza).
• Riho Coster: Graduate of the Oil Painting Course, Faculty of Art and Design, Musashino Art University, and the Institut National des Beaux-Arts, Tétouan, Morocco. Held numerous exhibitions in Ginza and Morocco.
• Kobayashi Tetsuro: Specialized in Oil Painting at Musashino Art University. Participated in the Independent Art Exhibition, Ueno Royal Museum Grand Prize Exhibition, and JAALA International Exchange Exhibition. Recipient of the Florence Award.
• Konno Akiko: Japanese contemporary female artist. Her themes revolve around existence, remnants of memory, overlooked daily fragments, and perceptual experience from a female perspective.
• Saka Mitsuhiro: Specialized in Fine Arts at Tama Art University. Frequent participant in the Chiba Tama Art Association Exhibition and other contemporary art shows.
• Sasaki Tsunamasa: Specialized in Fine Arts at Kagoshima University. Member of the Japan Artists Association and AJAC. Recipient of the Japan-France Award at the Japan-France Contemporary Art World Exhibition and the Sompo JAPAN Art Award.
• Sato Toshiyo: Contemporary Japanese artist whose work focuses on daily perception, internal emotions, and layers of time, presented through a quiet and contemplative visual vocabulary.
• Shiomi Akira: Specialized in Oil Painting at Tokyo University of the Arts. Art Director at MMG Print Studio. Represented by Kaneko Art Gallery.
• Shibatani Kei: Visual artist active in Tokyo and the Kanto region. Focuses on the rhythm of color, form, and composition. Emphasizes the interaction and perceptual resonance between the viewer and the work. Participated in the Korea-Japan Artists Exchange "WAVE 25" (Seoul) and AU exhibitions.
• SHUICHI GOTOH: Graduate of the Faculty of Arts, Fundação Armando Alvares Penteado (FAAP), São Paulo, Brazil, and Hiko Mizuno Jewelry College. Jewelry designer, painter, and expert in Brazilian colored gemstones.
• Shozo: Specialized in Art Theory and Cultural Heritage at the Graduate School of Kyoto University of the Arts. Researches "Perceptual Generation and Creation in Art." Participant in the Kameyama Triennale.
• Suemoto Taimaru: Artist whose work is noted for maintaining a warm humanistic quality amidst cold contemporary trends. Invites viewers to discover the weight of time and memory through layers of color.
• Sugano Junko: Specialized in Oil Painting, Musashino Art Junior College of Art and Design. Recipient of the Shunyo Exhibition Newcomer Award. Exhibited at the Vladivostok Visual Arts Biennale (Russia) and Toyama International Contemporary Art Exhibition.
• Sugiyama Masashi: Contemporary artist known for works such as "Cracked Earth and the Cry of the Bull." Listed as a related artist in the African Art Museum. Participating in the 23rd NAU 21st Century Art Federation Exhibition in January 2025.
• Suzumadoka: Contemporary Japanese artist.
• Suzuki Hitoshi: Graduate of the Master’s program in Art Education, Tokyo Gakugei University (specialized in ceramics). Inspired by Michio Hoshino's "The Traveling Tree." Workshop instructor at the Museum of Contemporary Art Tokyo. Numerous exhibitions at Ginza K’s Gallery and Gallery Hinoki.
• Sekino Rintaro: Doctoral candidate in Art Production, Graduate School of Osaka University of Arts. Student Special Award at the Shell Art Award 2017. Works collected by the Mitsubishi Corporation Art Gate Program.
• Taira Noboru: Contemporary visual artist active in Tokyo. His solo exhibition at Gallery Kobayashi in Ginza is archived by the National Art Center, Tokyo.
• Takahashi Shiori: Graduate of the Master’s program at Kyushu Sangyo University. Frequent participant in the NAU 21st Century Art Federation Exhibition.
• Takahashi Toshiaki:President of the NAU 21st Century Art Federation. Master’s degree from Tokyo Gakugei University. Exhibited at the Japan International Art Exhibition (Mainichi Shimbun) and the Taro Okamoto Memorial Contemporary Art Award Exhibition. Held exhibitions in Paris, New York, and Ginza.
• Takanohashi Nao: Participated in the Toyama International Contemporary Art Exhibition and the Vladivostok Visual Arts Biennale (Russia). Held exhibitions in Paris, New York, Poland, and Istanbul.
• Tajima Hajime: Studied under Akira Takeuchi (member of the Japan Kōgei Association). Exhibited at the National Art Center, Tokyo, and various galleries.
• Tajima Hiroyuki: Graduate of the Oil Painting Department, Tokyo University of the Arts, and the University's Printmaking Lab. Numerous print and oil painting exhibitions at Keio Print Salon and Kosugi Gallery.
• Tanaka Mizuho: Recipient of the Gifu Prefecture Governor’s Award and the "Quilt Japan" Jury Award. Exhibited at Ginza Kofou and FEI ART MUSEUM Yokohama.
• Tabata Rie: Ph.D. in Education from the Graduate School of Tokyo Gakugei University. Studied calligraphy under Seikaku Yonejima and abstract painting under Steven Cushner. Currently a lecturer at Tsuru University and Yamanashi Prefectural University.
• Tamura Takeshi: Listed as a producer/participant in the Sapporo International Art Festival 2017. Resident artist at Tenjinyama Art Studio.
• Chikyo Kazuki: Contemporary Japanese artist.
• Chisaka Maki: Contemporary Japanese artist.
• Tsuten Sakurai Hiromi: Born in Amami City. Student of Kanjiro Ikejima. Fellow of the Independent Art Association. Has traveled to over 30 countries and held 4 solo exhibitions in New York.
• Tsuda Tomoko: Contemporary Japanese artist.
• Tokyo Takashi: Graduate of Sophia University. Recipient of honorary awards at the Prix de la Photographie Paris (PX3), International Photography Awards (IPA), and London International Creative Competition.
• Tonuma Makiko: Graduate of the Oil Painting Department, Graduate School of Tokyo University of the Arts. Holds annual solo exhibitions at Ginza K’s Gallery.
• Domon Rie: Contemporary artist with a background in mixed media and metal carving. Her work spans painting and installation, with experience in Taiwan-Japan exchange exhibitions.
• Toyosaki Okiko: Member of the Japan Artists Association. Has held dozens of solo and group exhibitions at Ginza Futaba Gallery, O Gallery, and others.
• Nakajima Yuri: Graduate of Bunka Fashion College. Exhibited at the Ueno Royal Museum and various galleries.
• Nakamura Hakuran: Visual artist using rare silk and silk threads used for Sumo Kesho-mawashi to create experimental installations titled "Fetal Movement of the Universe."
• Nishida Yuko: Contemporary visual artist focusing on the viewer's gaze and moments of stillness. Participant in the 24th NAU 21st Century Art Federation Exhibition.
• Ninomiya Chitose: Active in the Japanese contemporary art circle, known for a unique visual vocabulary across representative contemporary art events.
• Nihira Kazuyuki: Contemporary artist focused on "constructive color" and "layers of light." Full member of NAU. Frequent participant in the annual exhibitions at Gallery Hinoki in Tokyo.
• NIL: Contemporary artist who has exhibited at the National Art Center, Tokyo, and various galleries in Shibuya and Meguro.
• Nomura Masami: Musician and artist. Active as an improvisational guitarist since 1986 and an abstract painter since 2002. His acrylic works are described as "cosmic or cellular."
• Senwa: Sakamoto Senwa’s works are characterized by dynamic colors and compositions inspired by nature and landscapes. Regularly holds solo exhibitions in Tokyo.
• Hashiya Yuji:Secretary-General of the NAU 21st Century Art Federation. Graduate of the Department of Electrical and Electronic Engineering, Nagoya University (Member of the lab of Nobel Laureate Isamu Akasaki). Numerous exhibitions at Gallery HINOKI and Gallery Natsuka.
• Hattori Makiko: Contemporary ceramic artist and NHK Culture Center lecturer. Recipient of the Mayor’s Award at the Tajimi City Art Exhibition. Founding member of the ceramic group "The Earth."
• Hamasaki Michiko: Specialized in Calligraphy at Tokyo Gakugei University. Director of the Sumi-no-Art Museum in Yokohama. Has held over 20 solo exhibitions at Kyukyodo, Ginza, and exhibited in Paris, London, and Warsaw.
• Hamada Natsuko: Specialized in Oil Painting at Tokyo University of the Arts (studied under Kazu Wakita). Numerous exhibitions at Shirota Gallery and Gallery Natsuka.
• Hayashi Kazuko: Member of BKS. Studied under Koji Yamami, Japan's leading kaleidoscope artist. Numerous exhibitions in Kyushu and Ginza.
• Hariya Tomoko: Contemporary ceramic artist. Studied under Shigeo Shiga. Has held solo exhibitions in London and Paris.
• HIROMI TOMINAGA: Graduate of Tama Art University. Known for large-scale paintings focusing on color, composition, and formal expression.
• FASC: Contemporary Japanese artist.
• Fukao Ryoko: Specialized in Western Painting at Joshibi University of Art and Design. Recipient of the Ibaraki Prefecture Exhibition Encouragement Award and the Shinsho Exhibition Association Award.
• Fukuda Mizue: Illustrator for the Ugetsu Monogatari series. Frequent participant in the "Earth Color Exhibition" at the Setagaya Art Museum.
• Fujishita Satoru: Graduate of Musashino Art University. Recipient of the Sculpture-no-Mori Museum Award at the Ueno Royal Museum Grand Prize Exhibition.
• Hosui: Member of Bokujinkai (founded by Shiryu Morita and Yuichi Inoue, the origin group of modern calligraphy). Recipient of the Bokujin Award at the Bokujin Kyoto Exhibition.
• HOLEE: Specialized in Western Painting at Ewha Womans University, Korea. Exhibited at the National Museum of Modern and Contemporary Art, Seoul, and Galerie Metanoia, Paris.
• Manjome Jun: Cross-disciplinary artist exploring the relationship between "Body and Society" through dance, visual arts, and film. Films screened at the International Film Festival Rotterdam and MHKA (Antwerp).
• Masaya Iwasaki: Contemporary artist who has exhibited at the National Art Center, Tokyo, and The Nippon Club, New York.
• Matsushita Sayo: Participant in Art International Zurich and the Asian Art Museum (Fukuoka).
• Matsumura Kiyoshi: Focused on precise contemporary painting and installation, interpreting natural and urban landscapes through material and color.
• Maho Laplante: Recipient of the Merit Scholarship at the Art Students League of NY. Exhibited at Lincoln Center Cork Gallery and the National Art Center, Tokyo.
• Mitsuyuki Yoko: Professor Emeritus at Kyushu Sangyo University. Member of the Japan Artists Association. Works collected by the National Art Gallery of Malaysia and the University of Brighton (UK).
• Monjugawa Kiyoshi: Graduate of Nihon University College of Art. Executive Chairman of the Japan-France Modern Art Exhibition. Member of the Japan Artists Association.
• Yachiguchi Hiroyuki: Exhibited at the National Art Center, Tokyo, and the Hinotodai Site Park Museum.
• Yanagiya Michiyo: Contemporary ink and calligraphy creator exploring the relationship between line, space, and form.
• Yamauchi Koichi: Specialized in Fine Arts at Wako University. Numerous exhibitions at the Iida City Art Museum and other venues in Nagano.
• Yamazaki Sachiko: Studied under Yusan Ihara. Has held dozens of solo exhibitions at the Fukuoka City Art Museum and other galleries.
• Yamada Yoko: President of the Asian Artists Network, dedicated to promoting international art projects and exhibitions across Asia.
• Yamane Mana: Specialized in Ceramics at Musashino Art University. Recipient of the Mayor’s Award at the Kawaguchi City Art Exhibition.
• Ryu Hyun-suk: Graduate of Hongik University, Korea, and Académie de la Grande Chaumière, Paris. Works collected by the National Assembly of Korea, Samsung, and Reebok Japan.
• YU-KI: Master's course graduate of the Photo Communication® Association. Recipient of the PCA and M84 Awards.
• YUKIKO: Specialized in Watercolor at Emerson Umbrella Center for the Arts (USA). Exhibited in Milan, Italy, and at the Setagaya Art Museum.
• Yuzawa Shigeyoshi: Studied under Genyu Obara. Member of IIDA･B KEN. Participated in numerous international exhibitions under the planning of Gutai co-founder Shozo Shimamoto.
• Yoshihara Ryokka: Recipient of the Excellence Award at the Japan-France Modern Art World Exhibition and the Gold Medal at the International Calligraphy and Painting Exhibition.
• Kozo Wada (Deceased): Passed away in June 2025. Held numerous solo exhibitions in Ginza and Nihonbashi; participant in the Shinsho and Kodo exhibitions.
• Hiroshi Wada: Contemporary artist focusing on urban, architectural, and spatial themes. A key member of the NAU 21st Century Art Federation.
• Watanabe Kengo: Recipient of the Semi-Grand Prize at the 43rd International Art Grand Prize Exhibition. Exhibited at The Nippon Club, New York.
• Watanabe Sawako:Former President of the NAU 21st Century Art Federation. Member of Bokujinkai. Studied under Nankoku Hidai and Shiryu Morita.
• Watanabe Nobuyoshi: Graduate of the Aichi Prefectural University of Fine Arts and Music. Participant in the A-21 Poland-Japan International Exchange Exhibition.
• Warabisako Minori: Tokyo-born artist using coffee to paint portraits and abstract works. Long-term display at Saatchi Gallery (UK) and permanently collected by St. Augustine Episcopal Church (NY). Artist-in-residence for Azamara Cruises.
• Etsuko Fukue: Monk of the Shinshu Otani-ha. Recipient of the International Contemporary Art Award at PESCARART 2024 (Italy). Exhibited at ART TAIPEI 2024.
• LIEN Jui-Fen: Current Chairperson of the Taiwan Women Calligraphers Association and the Tan-Lu Cultural and Educational Foundation. Numerous solo exhibitions at the National Sun Yat-sen Memorial Hall.
• Jiang Jinling: Specialized in Mineral Pigment Painting at Tunghai University, Taiwan. Studied under Jiang Yihan and Zhang Zhenwen.
• CHEN FU-CHI: President of two photography associations in Taiwan. Exhibited at the Shanghai International Photography Art Exhibition and the International Art Fair in Paris.
• Liau, Chun-Yi: Ph.D. from Chung Shan Medical University, Taiwan. Active participant in calligraphy and painting exhibitions at the National Art Center, Tokyo.
• WANG-CHUAN FU: Master’s degree from Taipei National University of the Arts. Art Director of Huaizhu-Ju Calligraphy and Painting Art Academy.
• Lee, Jia-Ling: Chairperson of Huang-Mo-Yi Art Company, Taiwan. Exhibited at Eslite Spectrum Songyan and other cultural venues.
• Wu, Tsai En: Master’s degree from National Kaohsiung Normal University. Selected for the 81st Genzten Exhibition at the National Art Center, Tokyo (2025).
• Wang Muti:First Taiwanese member of the NAU 21st Century Art Federation and Director of the Taiwan Liaison Office of the Modern Japanese Artists Association (Genzten). Recipient of the Genzten "Outstanding Artist" award and the Tokyo Genzten Encouragement Award. Curated over ten high-profile Japan-Taiwan exchange exhibitions. Contributed art criticism to the Yokohama magazine SAKURA (50,000 copies printed) and assisted over 2,000 artists in establishing independent digital museum databases.

參展成員學術評論與所屬藝術團體

【I. 策展宣言與組織哲學 (Curatorial Statement & Philosophy)】

NAU 的歷史與理念：從「原子化個體」到「根莖狀連立」的生態系

NAU History & Philosophy: From Atomized Individuals to Rhizomatic Unity

進入 21 世紀，藝術不再是孤立的象牙塔，而是橫向連結的有機網絡。NAU (New Art Unite / 21世紀美術連立展) 自創立以來，便試圖回應日本戰後畫壇長期僵化的「垂直社會（Vertical Society）」結構。傳統公募展體系往往受困於師徒制與嚴格的審查階級，這限制了當代藝術最珍貴的特質——自由意志與異質對話。

NAU 提出的 「連立 (Unite / Renritsu)」 概念，是一種激進的生態實驗，呼應了德勒茲（Gilles Deleuze）的「根莖（Rhizome）」理論。它主張在保留藝術家「本體論上的獨立性（Ontological Independence）」的前提下，進行跨領域、跨國界、跨世代的「水平連結」。在這裡，前衛書道的精神性、野獸派繪畫的物質性、以及數位影像的虛擬性，不再是互斥的流派，而是共同構成 21 世紀視覺景觀的有機組件。

第 24 回展覽，標誌著 NAU 從「日本國內的聯展」轉型為 「泛亞洲的藝術樞紐 (Pan-Asian Art Nexus)」。透過與台灣、韓國藝術團體的結構性結盟，NAU 正重新定義東亞當代藝術的邊界，證明藝術可以在「連立」中保有差異，在「對話」中生成新義。

線上瀏覽：日本第24回 NAU 21世紀美術連立展：互動式藝術家網路圖譜 (Interactive Artist Network Map) 

【II. 場域精神 (Venue Significance)】

國立新美術館：無牆的殿堂與對話的容器

The National Art Center, Tokyo: The Wall-less Cathedral of Dialogue

本次展覽選址於日本藝術的最高殿堂——國立新美術館 (The National Art Center, Tokyo)，具有極高的象徵意義。

由建築大師黑川紀章 (Kisho Kurokawa) 設計的這座美術館，本身就是「共生 (Symbiosis)」哲學的體現。它沒有永久館藏（Permanent Collection），意味著它拒絕了歷史的定型，而永遠為「當下」的藝術表現敞開。其巨大的波浪狀玻璃帷幕與無柱展示空間，為 NAU 的大型裝置與空間書道提供了最完美的舞台。在此展出，意味著參展藝術家已經通過了嚴格的學術審查，進入了日本當代美術史的正規視野。這不僅是一個展示空間，更是一個將個人創作轉化為「公共記憶」的神聖場域。

參展藝術家之「藝術團體／參展畫廊／學術圈」分析串連

一、方法論與閱讀指引

1) 三層結構的網絡分析框架

• 團體層（G）：以 NAU（21 世紀美術連立展）為中心，向外延伸至 Salon Blanc（日仏現代国際美術展）、太平洋美術會、墨人會、AJAC、日本美術家聯盟、Asia Artists Network（亞洲藝術家網絡）、AU（藝術家聯盟）、現展（日本現代美術家協會） 等。
• 畫廊層（A）：以東京銀座—京橋畫廊帶為核心節點（如 Gallery Hinoki、K’s Gallery、Shirota Gallery、Artcomplex Center of Tokyo（ACT）、Gallery Natsuka、GALLERY AND LINKS 81 等），並延伸至橫濱、名古屋、京都、大阪、以及海外（巴黎、紐約、米蘭等）的合作空間。
• 學術層（S）：以 東京藝術大學、多摩美術大學、武藏野美術大學、女子美術大學、京都造形／京都藝術大學、愛知縣立藝術大學、大阪藝術大學、弘益大學（韓）、巴黎 Académie de la Grande Chaumière（法） 等為中心，串連師承脈絡（師徒制、研究室系統）與跨校互動（客座、雙聯、交流展）。

2) 節點與邊（Nodes & Edges）

• 節點（Nodes）：藝術家、團體（協會／聯展組織）、畫廊（含美術館）、學術機構。
• 邊（Edges）：
  • 會員／成員／受獎（藝術家 ↔ 團體）；
  • 個展／聯展合作（藝術家 ↔ 畫廊／美術館）；
  • 學位／師承／研究／講師（藝術家 ↔ 學術機構）；
  • 策展／評審（藝術家／團體 ↔ 畫廊／美術館）；
  • 跨國交流（團體 ↔ 海外畫廊／美術館／學校）。

3) 網絡讀法

• 同心圓：以 NAU 為第一圈，向外是與 NAU 高頻互動之畫廊（如 Hinoki、K’s）、再外圈是與 NAU 參展藝術家有重疊的其他團體（如 Salon Blanc、太平洋美術會、墨人會、現展等）與海外節點（巴黎、紐約、米蘭）。
• 橋樑節點：能連接複數圈層的藝術家（例如具 NAU 會員身份、同時是其他大團體或海外平台的活躍者），或同時在學術與展覽兩端有強連結的策展人型藝術家。
• 媒材社群：書法／墨、纖維藝術、版畫、油畫／抽象、陶藝／雕刻、攝影等社群在畫廊與學術的交匯點上形成「媒材網絡」。

二、核心節點總覽

(G) 團體與聯展平台

• NAU（21 世紀美術連立展）：本次分析之中心；大量藝術家以 NAU 會員或推薦入選者身份參展。
• Salon Blanc（日仏現代国際美術展）：與法國機構、法國大使館獎項相關；名單中青木洲子、久保木妃呂子、文珠川清、吉原緑香等與此平台有交集。
• 太平洋美術會：日本最早西洋畫團體源流之一；久保木妃呂子為運營委員／會員／東京支部成員。
• 墨人會：日本戰後現代書法重要源流；萌翠、渡邊佐和子與此脈絡緊密。
• 現展（日本現代美術家協會）：王穆提為台灣聯絡所所長；吳采恩 2025 年入選第 81 回現展。
• Asia Artists Network（亞洲藝術家網絡）：山田陽子為社長；橫向串連亞洲圈合作。
• AU（藝術家聯盟）：與具體美術創始成員嶋本昭三企劃有交集；湯沢茂好、桑山真麻弓等涉入。
• AJAC、日本美術家聯盟：Sasaki Tsunamasa 為 AJAC 會員；多位藝術家亦與日本美術家聯盟互動。

(A) 畫廊與美術館

• Gallery Hinoki（ギャラリー檜／京橋）：NAU 藝術家高頻出現之東京核心畫廊節點。
• K’s Gallery（銀座）：多位藝術家每年舉辦個展，與 NAU 社群重疊。
• Shirota Gallery（銀座）：上杉道子、浜田夏子等活躍。
• Artcomplex Center of Tokyo（ACT）：woga、渡邊健吾、YU-KI 等曾在此展出或獲獎。
• Gallery Natsuka／GALLERY AND LINKS 81／Gallery KINGYO／小杉畫廊：NAU 與首都圈畫廊帶的典型合作節點。
• 國立新美術館（六本木）：NAU 展主場；多位藝術家亦在此參與其他大型公募或交流展。
• 海外節點：巴黎 Galerie Métanoïa、Espace Sorbonne 4；紐約 The Nippon Gallery、The Nippon Club；米蘭 M.A.D.S. ART GALLERY；首爾多個美術館與文化院等。

(S) 學術機構

• 東京藝術大學：田畑理恵（講師經歷／研究）、田嶋初／田島弘行／塩見章等油畫／版畫背景；宇田川宣人（藝研修士課程）。
• 多摩美術大學：Akiko SIACCA、HIROMI TOMINAGA、Saka Mitsuhiro 等。
• 武藏野美術大學：久保木妃呂子、Kobayashi Tetsuro、田畑理恵、山根真奈等。
• 女子美術大學：磯崎式子、深尾良子等。
• 京都造形／京都藝術大學：浅野あかね、晶蔵等。
• 愛知縣立藝術大學：YUKIKO（水彩聯盟等展歷）、針谷智子（瀨戶窯業專攻）背景相關。
• 大阪藝術大學：関野凛太郎（藝製作博士課程）等。
• 弘益大學（韓國）、梨花女子大學：HOLEE、柳賢淑等。
• Académie de la Grande Chaumière（巴黎）：柳賢淑留學背景；連結法國美術教育傳統。

三、網絡結構：從 NAU 出發的「同心圓」與「橋樑節點」

1) 中心圈（NAU 直屬與高頻互動者）

• 髙橋俊明（NAU 會長）：作為制度與展務的核心人物，是 NAU 網絡的中心樞紐，向東京銀座畫廊帶、國立新美術館、以及 NICAF／岡本太郎紀念現代藝術大賞展等其他大型平台延伸。
• 橋谷勇慈（NAU 事務局長）：畫廊合作（Hinoki、Natsuka、正光畫廊）與海外交流（西班牙、日本—歐洲）之橋樑。
• 金丸順子、仁平和幸、神田風香、末本太丸、平昇、高橋詩桜里、戸沼牧子、Masaya Iwasaki、松下佐代、松村清司、Maho Laplante、杉山まさし、関野凛太郎、渡邊健吾、渡邊佐和子、渡辺信好、やちぐちひろゆき、野村雅美、宣和、西田裕子、二宮ちとせ、山田陽子 等：在 NAU 與銀座—京橋畫廊群之間形成高頻互動「社群核心」。

2) 橋樑節點（跨團體／跨國平台的關鍵連結者）

• 青木洲子：與 Salon Blanc（日仏現代国際美術展）的獎項鏈接（法國大使館賞、文部科學大臣賞），把 NAU 與法國平台緊密相連。
• 久保木妃呂子：太平洋美術會運營委員＋NAU；並持續參與東京都美術館與 Salon Blanc，連通「日本西洋畫傳統脈絡—NAU—法國交流」。
• 渡邊佐和子：NAU 前會長＋墨人會成員；把 NAU 與戰後現代書法源流接合。
• 桑山真麻弓：大阪藝術大學纖維＋AU／具體系企劃參與；連接關西纖維—具體美術—海外（米蘭）設計週。
• 湯沢茂好：OBARA 美術研究所出身＋ AU 參展；以具體美術企劃與地方研究所網絡連接 NAU。
• 柳賢淑（韓）／HOLEE（韓）：韓國學術背景＋首爾美術館群＋巴黎畫廊；把 NAU 與韓國、法國兩端相連。
• 王穆提（台）：現展台灣聯絡所所長＋ NAU 台灣首位成員；連接 NAU—現展—台灣高校與文化機構—北京 798 等媒體平台，並以策展與資料庫建構（2,000+ 藝術家）強化跨國資料與宣傳流。
• 文珠川清：Salon Blanc 執行委員長＋日本美術家聯盟會員；把 NAU 與日法平台的制度與評審層面串起來。
• Maho Laplante：紐約藝術學生聯盟獎學金＋巴黎、東京展歷；連接 NAU 與美國—法國教育與展覽鏈。
• Akiko SIACCA：銀座畫廊社長＋現代藝術家；把 NAU 與銀座畫廊經營網絡相互耦合。

四、畫廊帶（銀座—京橋）與 NAU 的「共振」

1) Gallery Hinoki（ギャラリー檜）為典型樞紐 多位 NAU 參展者長年在 Hinoki 舉辦個展／選拔展（例：末本太丸、金丸順子、神田風香、トウキョウタカシ（Tokyo Takashi）、橋谷勇慈、Masaya Iwasaki、渡邊健吾 等）。 Hinoki 的策展節奏常與 NAU 年度展期前後共振，形成「國立新美術館（聯展） ↔ 銀座—京橋（個展／二人展）」的雙軌節點。

2) K’s Gallery（銀座）—年度個展習慣戸沼牧子、鈴木齊、深尾良子、浜田夏子 等在 K’s Gallery 的穩定個展節奏，使 NAU 藝術家在同一畫廊網絡中累積「作品語彙的連續性」與「收藏者社群的熟識度」。

3) Shirota Gallery（銀座）—現代至當代的串連上杉道子、浜田夏子、Akiko SIACCA 等與 Shirota 的長期互動，把「銀座傳統畫廊運作方式」與「NAU 的當代實踐」互相對照。

4) ACT（Artcomplex Center of Tokyo）—新銳與競賽導向woga、YU-KI、渡邊健吾 等在 ACT 的展出與大賞機制，為 NAU 社群釋放新血流動（競賽—聯展—個展—國立新美術館）的升級路徑。

五、學術圈—師承脈絡與展場行動的相互增幅

1) 東京藝術大學（藝研、油畫、版畫）

• 宇田川宣人（藝研修士，九州產業大學名譽教授）：學術職務＋國際交流（美國賓州客座），把 NAU 與「學術評議—國際展務」連接。
• 塩見章（油畫科；MMG 版畫工房藝術總監）：在學術技術面（版畫工房）與畫廊（Kaneko Art Gallery）之間形成「技術資源—展陳資源」的橋。
• 田島弘行（東京藝大油畫—版畫研究室）：版畫與油畫雙線，對 NAU 的「多媒材共存」提供案例。

2) 多摩美術大學／武藏野美術大學—首都圈學術雙峰

• Akiko SIACCA、HIROMI TOMINAGA、Saka Mitsuhiro、Kobayashi Tetsuro、田畑理恵、山根真奈 等，透過首都圈兩大美術校系的師承與校友展、研究所系統，把 NAU 與「學術再生產機制」緊密聯繫。
• 田畑理恵：教育學博士＋書法與抽象之跨域師承（米島清鶴、金子卓義／Steven Cushner），提供「東西方媒材語言融合」的示範路徑。

3) 京都系（京都造形／京都藝術大學）—地域型當代語彙

• 浅野あかね、晶蔵、アレトコレココ 等在京都系訓練與畫廊行動（京都同時代等）之間，形成「地域美術圈—國立新美術館」的跨區引力。

4) 愛知／大阪系—中部與關西的補強

• 関野凛太郎（大阪藝術大學博士課程；Shell 美術賞學生特別獎；Art Gate Program 收藏）等，連結企業收藏與拍賣、藝術博覽會（ART OSAKA）之路徑。
• 針谷智子（瀨戶窯業專攻）：把陶藝工房體制與倫敦、巴黎個展接軌。

5) 海外學術與交流

• 柳賢淑（弘益大學／巴黎 La Grande Chaumière）：韓國—法國—日本三角網絡。
• HOLEE（梨花女子大學西洋畫）：首爾國立現代美術館、法國文化院與日本展務跨線；NAU 與韓國機構直連。
• Maho Laplante（紐約藝術學生聯盟）：美國教育資源＋東京與巴黎雙城展藝連動。

六、媒材社群與跨域串連

書法／墨（現代書藝）

• 石井抱旦（前衛書道家；每日書道展審查員）：把「漢字書法」之筆墨美學轉化為跨國抽象視覺；與義大利、德國、法國展出經驗，將日本墨文化現代性導出國際舞台。
• 渡邊佐和子（墨人會成員；NAU 前會長）：戰後現代書法源流與 NAU 的組織樞紐，聯通京都—東京墨藝圈。
• 萌翠（墨人會、墨人賞）：京都墨人傳統與 NAU 當代聯展的「筆墨更新」。
• 柳谷みち代、山崎倖子：以筆墨線條美學連接畫廊二人展與地方群展，形成「小型展—大展」的階梯路徑。
• 濱﨑道子（書道科；橫濱墨の美術館館長）：書藝館—銀座—海外城市（巴黎、坎城、倫敦、華沙、西班牙）之跨國串連。
• 林和子（BKS 會員；萬花鏡藝術師承）：以「媒材擴充」介面連結書藝、工藝美學與公共空間展示。

纖維／工藝

• オギノキヨコ、岡本直枝、桑山真麻弓：從大學時期群展（よきなみ展）到台日交流展，再到米蘭設計週、美術節與大型商場美術空間（高島屋、美術畫廊）之「生活美學—當代語彙」接合。
• 針谷智子（瀨戶窯業）：陶藝師承與倫敦、巴黎個展串連，凸顯「工房—畫廊—國際化」。

版畫／油畫／抽象

• 塩見章（版畫工房總監）：技術資源中心；與小杉畫廊、Kaneko Art Gallery 之展出。
• 田島弘行（版畫研究室）：油畫、版畫雙棲；京王版畫沙龍、地球堂、KINGYO 等展出實踐。
• 金丸順子、仁平和幸、佐藤利予、芝谷桂：在抽象語彙裡，透過 Hinoki、AND LINKS 81、Yamate（橫濱）等畫廊聚合，形成「抽象社群—銀座帶」。

攝影／影像

• トウキョウタカシ（Tokyo Takashi）：PX3、IPA、FAPA、倫敦國際創意大賽、布達佩斯國際攝影獎等國際攝影競賽；把 NAU 與全球攝影平台相連。
• 野村雅美：音樂—繪畫—Live Painting 的跨媒介行動，形塑「現場性—抽象性」的影像美學。
• YU-KI：Photo Communication® 協會；東京代官山 Space K、RDECO 等展出，連接攝影社群與銀座畫廊。

七、跨國路徑的雛形

• 巴黎軸：Salon Blanc（法國大使館賞）— Galerie Métanoïa — Espace Sorbonne 4 — La Grande Chaumière（教育）。
• 紐約軸：The Nippon Gallery／The Nippon Club — Lincoln Center Cork Gallery — Emerson Umbrella 之水彩系統（YUKIKO）— 美國評審獎學金（Maho Laplante）。
• 首爾軸：國立現代美術館—法國文化院—多家美術館（HOLEE、柳賢淑）。
• 米蘭／歐洲設計週軸：桑山真麻弓（MILANO GENIUS）、M.A.D.S.（義大利米蘭）。
• 東歐—中歐軸：Okayama Masaki（波蘭克拉科夫國立美術館、華沙現代藝術中心收藏）。
• 北陸—富山—北海道地方軸：Sugano Junko（富山交流）／Guarino Aki（富山駐村與越中藝術節）／Etsuko Fukue（北海道美術協會—札幌、小樽展務）。

八、先行洞察

• NAU 是結構化的「聯展—個展—學術—海外」的樞紐：透過國立新美術館的年度展期與銀座—京橋畫廊帶的個展節奏，形成作品語彙的「連續性」、觀眾社群與藏家社群的「可預期性」。
• 橋樑型藝術家決定網絡的外延半徑：青木洲子（法國獎項）、久保木妃呂子（太平洋美術會）、渡邊佐和子（墨人會）、桑山真麻弓（具體×米蘭）、柳賢淑／HOLEE（韓國×巴黎）與王穆提（台灣×現展×媒體×資料庫）等，顯著擴張 NAU 的跨國觸角。
• 學術系統提供方法與語言的「再生產」：東京藝大／多摩／武藏野／女子美／京都系／大阪藝大等，讓媒材與方法論在展覽端持續被更新；師承鏈與工房體制（如 MMG 版畫工房、OBARA 美術研究所）是技術資源的穩定支撐。
• 媒材社群的交叉是未來方向：書藝—抽象、纖維—具體、版畫—油畫、攝影—裝置的交叉語言，更容易在海外平台得到識別與共鳴，形成可擴張的敘事。

【IV. 序章：權威與基石 (Prologue: The Foundations)】

2. 髙橋俊明 (Takahashi Toshiaki)

• 學術定位：NAU 會長 / 空間構成的教育者
• 資歷摘要： 東京學藝大學大學院繪畫講座 / 岡本太郎紀念現代藝術大賞展。
• [學術評論]：
• 作為 NAU 的掌舵者，高橋俊明的作品體現了東京學藝大學系譜中特有的「理性」與「結構」。他的繪畫超越了單純的平面裝飾，展現出一種建築般的空間構成意識。他擅長運用色彩的推移 (Color Progression) 與幾何的分割，在裝置藝術上構建出深邃的3D場域。其作品不僅是視覺的享受，更是對「如何介入空間」這一課題的嚴肅學術回應。

3. 橋谷勇慈 (Hashiya Yuji)

• 學術定位：科學理性與抽象美學的統合
• 資歷摘要： NAU 事務局長 / 名古屋大學（諾貝爾獎赤崎勇研究室成員）。
• [學術評論]：
• 橋谷勇慈是當代藝術界罕見的「科學家藝術家」。出身於諾貝爾物理學獎團隊的研究背景，賦予了他的抽象繪畫一種獨特的「演算法美學 (Algorithmic Aesthetics)」。他的線條與色塊並非源於感性的宣洩，而是如同晶體結構或電路矩陣般，遵循著某種內在的宇宙秩序。他是 NAU 展覽中「理性之眼」的代表。

4. 光行洋子 (Mitsuyuki Yoko)

• 學術定位：九州畫壇的學院教母
• 資歷摘要： 九州產業大學名譽教授 / 亞洲國際美術展副代表。
• [學術評論]：
• 擁有「名譽教授」的崇高學術頭銜，光行洋子代表了日本洋畫界的正統與傳承。她的作品展現了大師級的控場能力——色彩厚重而不滯悶，構圖宏大而細節豐富。作為九州地區藝術教育的領袖，她的畫作流露出一種深厚的人文關懷與歷史底蘊，穩住了展覽的學術重心。

5. 宇田川宣人 (Udagawa Nobuhito)

• 學術定位：國際視野下的在地深耕
• 資歷摘要： 九州產業大學名譽教授 / 福岡市美術聯盟理事長 / 賓州大學客座。
• [學術評論]：
• 宇田川宣人的藝術實踐跨越了東西方的邊界。身為福岡美術界的行政核心與教育家，他的作品融合了日本洋畫的紮實功底與歐美當代藝術的構成邏輯。他是 NAU 推動 AAN (Asian Artists Network) 的重要支柱，其作品本身就是一種跨文化溝通的媒介。

6. 久保木妃呂子 (Kuboki Hiroko)

• 學術定位：百年洋畫史的守護者
• 資歷摘要： 太平洋美術會營運委員 / Salon Blanc 參展。
• [學術評論]：
• 太平洋美術會是日本最古老的西畫團體（源於明治時期）。久保木妃呂子身為其營運委員，承載著日本洋畫百年的歷史重量。她的作品堅持傳統油畫的「繪畫性 (Painterliness)」，強調筆觸的溫度與顏料的質感，展現了一種超越潮流的古典堅韌。

【Chapter I】 墨的當代辯證——空間、氣韻與解構

Dialectics of Ink: Space, Gesture, and Deconstruction

[策展導讀]

本章節探討「墨」在當代藝術中的雙重路徑：一端是日本前衛書道對「文字意義的剝離」與「空間的爆發」；另一端是台灣當代漢墨對「文人精神的現代化」與「氣韻的綿延」。

【Section 1: 兩大女流的對話 (Dialogue of the Matriarchs)】

7. 渡邊佐和子 (Watanabe Sawako)

• 學術定位：前衛書道正統 / 空間的切割者
• 資歷摘要： NAU前會長 / 墨人會成員 / 師從比田井南谷、森田子龍。
• [學術評論]：
• 渡邊佐和子是日本戰後前衛藝術史的活見證。身為「墨人會」的嫡系傳人，她的創作核心在於「筆蝕」——即筆鋒與紙張纖維激烈摩擦後留下的生命痕跡。在她的作品中，漢字的形體已被徹底解構，轉化為純粹的黑白能量塊面。她對空間的處理具有極強的侵略性與建築感，墨跡如同在虛空中劃出的閃電。這不是靜態的書寫，而是身體能量在瞬間爆發後的 「凝固時間」。

8. 連瑞芬 (LIEN Jui-Fen)

• 學術定位：台灣書壇領袖 / 現代文人氣韻
• 資歷摘要： 臺灣女書法家學會理事長 / 澹廬文教基金會董事長。
• [學術評論]：
• 如果說日本書道追求瞬間的爆發，連瑞芬則展現了「時間的綿延」。作為台灣書壇的重要領袖，連瑞芬深得曹秋圃一脈（澹廬）的「書道禪」精髓，線條遒勁而富有彈性。然而，她並未止步於傳統條幅，而是大膽地將現代繪畫的「滿版構圖」與「留白美學」引入書法。她的作品展現了一種獨特的 「統攝力」——在看似自由奔放的行草線條中，蘊含著嚴謹的結構秩序，是古典修養與現代視覺語言的完美融合。

【Section 2: 結構、立體與實驗 (Structure, Dimension & Experiment)】

9. 石井抱旦 (Ishii Hotan)

• 學術定位：立體書道 / 國際化的書寫語言
• 資歷摘要： 每日書道展審查員 / 活躍於義大利、德國、法國。
• [學術評論]：
• 石井抱旦致力於解決一個核心問題：如何讓不識漢字的西方觀眾也能被書法感動？他的答案是 「立體化」與「建築化」。他將書法線條視為建築的樑柱，在2D紙面上構建出3D的空間深度。其作品具有強烈的雕塑感，是書道走向全球當代藝術的成功範本。

10. 王詮富 (WANG-CHUAN FU)

• 學術定位：水墨的物質性實驗 / 學院新銳
• 資歷摘要： 國立台北藝術大學 (TNUA) 美術碩士。
• [學術評論]：
• 王詮富代表了台灣年輕一代學院派對水墨的革新視角。他將水墨視為與壓克力、油畫顏料平等的「物質 (Material)」，而非單純的書寫工具。他在畫面上進行堆疊、沖刷與肌理製造，模糊了「書法」與「繪畫」的界線，展現出一種帶有實驗性質的視覺張力。

11. 陳福祺 (CHEN FU-CHI)

• 學術定位：影像與墨象的跨界 / 攝影之眼的書寫
• 資歷摘要： 台灣本土攝影聯誼會會長/廣角攝影俱樂部會長。
• [學術評論]：
• 陳福祺身為台灣攝影界的重要領袖，此次跨界展出 「現代書法」。他的書寫帶有強烈的影像邏輯：他對漢字結構的佈局，猶如攝影中的 「取景 (Framing)」 與 「構圖」，極其講究空間的切割與虛實對比。這是一種「用快門之眼運筆」的獨特實踐，證明了視覺藝術原理的高度互通性。

12. 濱﨑道子 (Hamasaki Michiko)

• 學術定位：墨的文化翻譯者
• 資歷摘要： 橫濱墨之美術館館長。
• [學術評論]：
• 濱﨑道子的作品具有一種優雅的「流動性」。她深知如何將東方的「線條美學」翻譯給西方世界。她的創作聚焦於單一筆畫的豐富變化——從濃墨的焦灼到淡墨的暈染，展現了水與墨在紙上交融的微觀宇宙。

13. 萌翠 (Hosui)

• 學術定位：紙與墨的滲透學
• 資歷摘要： 墨人會成員。
• [學術評論]：
• 作為墨人會的一員，萌翠關注「滲透 (Osmosis)」的過程。作品呈現墨汁如何在時間推移下，緩慢地侵蝕、暈染紙張的纖維。這是一種極為內省的創作，邀請觀眾體驗一種靜謐的東方冥想。

14. 廖純沂 (Liau, Chun-Yi)

• 學術定位：儒醫傳統的現代文人畫 / 療癒的水墨
• 資歷摘要： 中山醫學大學博士 / 活躍於國際書畫展。
• [學術評論]：
• 廖純沂延續了「儒醫」傳統，選擇具象的 「水墨畫」 作為修身媒介。筆墨間流露出一種醫者特有的仁心與平和。他不追求險怪的構圖，而是通過墨色的濃淡暈染，構建出充滿人文氣息的山水意象，在展場中提供了一種古典而安定的力量。

15. 姜金玲 (Jiang Jinling)

• 學術定位：膠彩與水墨的交融
• 資歷摘要： 東海大學膠彩畫專攻 / 師從姜一涵。
• [學術評論]：
• 姜金玲的作品融合了台灣水墨的靈動與日本膠彩（岩彩）的厚重。師從現代水墨大師姜一涵的背景，使她的作品在墨韻之外，多了一份礦物顏料的閃爍質感與色彩層次，展現了跨越媒材的現代文人畫風。

16. 柳谷みち代 (Yanagiya Michiyo)

• 學術定位：線條的音樂性
• 資歷摘要： 當代墨與書寫。
• [學術評論]：
• 柳谷的作品強調線條的節奏感與音樂性。她打破了漢字的結構束縛，讓線條在空間中自由舞動。其作品往往帶有一種輕盈的律動，如同凝固的音樂旋律，展現了當代書寫在擺脫表意功能後的純粹形式之美。

17. 栗原光峯 (Kurihara Koho)

• 學術定位：書法外交官
• 資歷摘要： JIAS 會員 / 比利時・荷蘭美術賞展優秀賞。
• [學術評論]：
• 致力於書法的 「國際化」。栗原深知如何調整筆墨的視覺語言，使其超越文字的語義障礙，轉化為西方觀眾也能理解的抽象線條藝術，是一種極具溝通力的現代書藝。

18. 井上一光 (Inoue Ikko)

• 學術定位：文字學的藝術轉化
• 資歷摘要： 字統文字研究所所長 / 福岡文化賞。
• [學術評論]：
• 井上一光不僅是書家，更是文字學者。他將「甲骨文/金文」還原為原始的咒術符號，其作品具有強烈的象形性與神秘感，是極具學術深度的「學人書道」。

19. 小川移山 (Ogawa Izan)

• 學術定位：行為書道與表現教育
• 資歷摘要： 半島酒店收藏。
• [學術評論]：
• 小川移山將書法定義為 「表現教育」與「行為藝術」。他的作品強調書寫過程中的表演性與身體介入，試圖將書法的能量輻射到公共空間，氣勢磅礴。

20. 吉原緑香 (Yoshihara Ryokka)

• 學術定位：和洋折衷的書畫
• 資歷摘要： 日法現代美術世界展優秀獎。
• [學術評論]：
• 吉原緑香成功地在畫布上調和了東方的筆墨線條與西方的色彩構成，創造出一種跨文化的視覺語言，展現了「和洋折衷」的美學高度。

21. 田畑理恵 (Tabata Rie)

• 學術定位：理論與實作的統一
• 資歷摘要： 教育學博士。
• [學術評論]：
• 結合了東方書法與美式抽象畫，田畑理恵的作品是其美學理論的實踐，在畫布上進行理性的東西融合，展現了學術研究者的嚴謹與跨文化視野。

【Chapter II】 繪畫的物質學——從熱情厚塗到理性冷抽

The Materiality of Painting: From Impasto Passion to Rational Abstraction

[策展導讀]

在螢幕影像（Screen Image）氾濫的當代，繪畫存在的本體論意義為何？NAU 的回答是：「物質的復權 (The Restoration of Materiality)」。

本章節呈現了繪畫作為一種物質實踐的兩種極端。一端是繼承日本洋畫史的 「表現主義系譜」，強調野獸派式的色彩爆發與身體性的筆觸；另一端則是活躍於東京當代畫廊的 「理性抽象系譜」，強調時間的堆疊、顏料的物理厚度與幾何結構的冷靜構建。

【Section 1: 熱情與生命 (Passion & Life) —— 表現主義的系譜】

22. 通天櫻井洋美 (Tsuten Sakurai Hiromi)

• 學術定位：日本野獸派的火焰 / 觸覺視覺
• 資歷摘要： 獨立美術協會會友 / 師從池島勘治郎。
• [學術評論]：
• 「獨立美術協會」自 1930 年代創立以來，便是日本「野獸派 (Fauvism)」的堡壘。通天櫻井洋美的作品完美繼承了這一血統。她拒絕色彩的自然主義再現，而是追求色彩的 「情感真實 (Emotional Truth)」。在她的畫布上，顏料不是被平塗，而是被堆砌、被撞擊。那些燃燒般的紅色與深邃的黑色，構成了強烈的視覺對比。這種 「厚塗法 (Impasto)」 賦予了畫面強大的雕塑感，彷彿要突破2D平面的限制，直擊觀眾的視網膜，喚起一種 「觸覺視覺 (Haptic Visuality)」。

23. 磯崎式子 (Isozaki Noriko)

• 學術定位：光與色的編織者 / 視覺愉悅
• 資歷摘要： 一陽會繪畫部委員 / 女子美術大學 / 一陽賞。
• [學術評論]：
• 磯崎式子的作品展現了「一陽會」特有的美學傳統——對光影與色彩和諧的極致追求。她擅長運用細碎的筆觸，將無數種色調編織成一種流動的光譜，如同印象派對光線的捕捉，但又更具現代裝飾性。她的畫面往往洋溢著一種溫暖的 「視覺愉悅 (Visual Pleasure)」，沒有艱澀的觀念說教，只有純粹的色彩在空間中律動，是對抗當代冷漠疏離的一劑解藥。

24. 仁平和幸 (Nihira Kazuyuki)

• 學術定位：時間的地質學 / 物質堆疊
• 資歷摘要： NAU 正式會員 / Gallery Hinoki 年度精選展。
• [學術評論]：
• 仁平和幸的繪畫是對「時間」的物理化呈現。他不在畫布上描繪具象，而是進行無止盡的顏料堆疊與刮除。近距離觀看他的作品，會發現表面充滿了如同地質斷層般的肌理與裂痕。這種 「物質性 (Materiality)」 是對抗數位影像扁平化最有力的武器，邀請觀者進行一種考古學式的凝視。

25. 金丸順子 (Kanemaru Junko)

• 學術定位：內在風景的轉譯
• 資歷摘要： NAU 正式會員 / 國立新美術館常連。
• [學術評論]：
• 金丸順子的創作長期聚焦於 「內在風景 (Inner Landscape)」 與「光影律動」。她是當代日本抽象畫界中，能將物質性與精神性優雅結合的代表人物。其作品在國立新美術館的展出，往往能以細膩的色彩層次引發觀者深層的共鳴，展現了極高的視覺完成度與詩意氛圍。

26. 小林哲郎 (Kobayashi Tetsuro)

• 學術定位：社會派表現主義
• 資歷摘要： 武藏野美術大學 / 獨立美術 / JAALA 國際交流展。
• [學術評論]：
• 小林哲郎的筆觸帶有一種粗獷的原始力量。結合 JAALA (亞非拉丁美洲連帶) 的背景，他的作品往往隱含著對社會現實或人類處境的關注。他不修飾筆觸的粗糙感，這種 「未完成感 (Non-finito)」 反而增強了畫面的真實性與迫力，是繪畫作為一種社會發聲工具的實踐。

27. Maho Laplante

• 學術定位：紐約畫派的嫡系 / 行動繪畫
• 資歷摘要： 紐約藝術學生聯盟獎學金 / 林肯中心展出。
• [學術評論]：
• Maho Laplante 的作品將觀眾帶回了紐約抽象表現主義的黃金時代。她的畫作強調 「行動 (Action)」。畫布是她身體運動的紀錄場域，顏料的滴流、潑灑與刮擦，保留了創作當下的速度感與偶然性。這是一種美式的自由與奔放，與日本傳統的內斂美學形成了精彩的對照。

28. 深尾良子 (Fukao Ryoko)

• 學術定位：心象風景的層次
• 資歷摘要： 女子美術大學 / 茨城縣展特賞 / 新象展協會賞。
• [學術評論]：
• 深尾良子是女子美術大學出身的實力派。她的作品展現了女性藝術家特有的感性與韌性。色彩層次豐富，擅長捕捉自然界中稍縱即逝的光影變化，並將其轉化為內在的心象風景。她在「新象展」的獲獎經歷，證明了其在具象與半抽象之間游刃有餘的造型能力。

29. 豊崎旺子 (Toyosaki Okiko)

• 學術定位：繪畫的純粹性
• 資歷摘要： 日本美術家聯盟會員 / 銀座 O Gallery 個展。
• [學術評論]：
• 豊崎旺子活躍於銀座 O Gallery 等重視「繪畫性」的空間。她的作品不依賴奇觀，而是回歸繪畫的基本元素——色彩、構圖與筆觸的平衡。其畫作往往帶有層層疊加的厚度，展現了日本中堅畫家紮實的底蘊與對繪畫本體的堅持。

【Section 2: 理性與沈澱 (Reason & Sediment) —— 物質抽象的系譜】

30. 和田廣司 (Hiroshi Wada)

• 學術定位：都市的幾何秩序 / 冷抽象
• 資歷摘要： 活躍於 Gallery Hinoki / 現代美術家。
• [學術評論]：
• 和田廣司的作品是現代都市經驗的抽象化。他運用水平與垂直的線條，構建出一種嚴謹的 「網格系統 (Grid System)」。這種冷靜的幾何構成，剔除了多餘的情感宣洩，只留下純粹的結構與秩序。他的畫作如同現代主義建築的藍圖，展現了一種 「冷抽象 (Cool Abstraction)」 的知性美感，是理科思維在藝術上的投射。

31. 平昇 (Taira Noboru)

• 學術定位：微觀世界的有機形態
• 資歷摘要： 國立新美術館收錄 / 銀座 Kobayashi 畫廊。
• [學術評論]：
• 平昇是一位受到國立美術館體系關注的實力派畫家。他的作品特色在於極高的完成度與細膩的微觀視角。他往往在畫面上創造出一種迷離的空間感，色彩層次豐富而微妙，彷彿在探討有機生物的細胞結構或是宇宙的星雲。其作品的靜謐氣質，使其具有極高的收藏價值，屬於「耐看型」的經典當代繪畫。

32. HOLEE

• 學術定位：單色畫的精神性 / 韓法混血美學
• 資歷摘要： 韓國梨花女子大學 / 法國大茅舍 / 國立新美術館個展。
• [學術評論]：
• HOLEE 的作品是韓國 「單色畫 (Dansaekhwa)」 精神的當代延續。她通過單一顏色的反覆塗抹，達成一種修行的境界。然而，法國留學的背景賦予了她更具層次的色彩感，不似傳統單色畫那般苦行，而是帶有抒情抽象的詩意。她的作品在展場中提供了一個安靜的「氣口 (Breathing Space)」，讓觀眾的視覺在喧鬧中獲得休息。

33. 浜田夏子 (Hamada Natsuko)

• 學術定位：抒情抽象的繼承者
• 資歷摘要： 東京藝術大學 (師從脇田和) / 椿近代畫廊。
• [學術評論]：
• 浜田夏子師從抒情抽象大師脇田和，繼承了那份溫暖與詩意。她的色彩運用柔和而富有音樂性，展現了東京藝大油畫科深厚的色彩教養。畫面中模糊的邊界與暈染，如同記憶的殘影，引發觀者對逝去時光的鄉愁。

34. 香西洋子 (Kozai Yoko)

• 學術定位：現代美術的跨界對話
• 資歷摘要： 活躍於六本木藝術圈 / Gallery Hinoki。
• [學術評論]：
• 香西洋子長期推動當代美術的跨界對話。她的作品形式靈活，不拘泥於單一風格，注重色彩、形態與構圖的節奏感。在 Gallery Hinoki 的展出中，她展現了細膩而內省的視覺語言，強調觀者與作品之間的感知共鳴。

35. 神田風香 (Kanda Fuka)

• 學術定位：線性美學的探索
• 資歷摘要： 書道教育學會出身 / 國立新美術館參展。
• [學術評論]：
• 神田風香的背景雖源於書道，但她的作品已轉化為純粹的當代抽象。她專注於「線條」在空間中的表現力，探索書寫性線條如何脫離文字，成為獨立的視覺元素。其作品因獨特的 「線性美學 (Linear Aesthetics)」 受到跨文化評論家的關注。

36. 荒川久美子 (Arakawa Kumiko)

• 學術定位：版畫思維的層次
• 資歷摘要： 東京造形大學版畫組 / Gallery Hinoki。
• [學術評論]：
• 荒川的作品帶有版畫特有的 「層次思維 (Layering)」。即使在繪畫作品中，她也運用堆疊與刮除的技法，創造出如同版畫般的 「間接性 (Indirectness)」 質感。她在日韓交流藝術展的經歷，顯示其作品在抽象構成上的成熟度與國際視野。

【Section 3: 內在風景與敘事 (Inner Landscapes & Narrative)】

37. 佐藤利予 (Sato Toshiyo)

• 學術定位：微觀感知的詩意
• 資歷摘要： 現代美術家 / 沉思性氣質。
• [學術評論]：
• 佐藤利予的作品關注日常感知與時間層次。她以細膩而克制的視覺語彙，呈現出一種安靜、沉思性的氣質。在喧囂的當代藝術中，她的作品如同一首短詩，提醒觀眾關注微小的存在。

38. 今野明子 (Konno Akiko)

• 學術定位：記憶殘影的捕捉
• 資歷摘要： 當代女性藝術家 / 存在感與記憶。
• [學術評論]：
• 今野明子的創作圍繞著「存在感」與「記憶的殘影」。她以女性特有的細膩視角，捕捉日常中被忽略的片段。畫面往往帶有一種朦朧美，彷彿是試圖留住即將消逝的瞬間。

39. 岡田繁忠 (Okada Shigetada)

• 學術定位：自由表現的現代性
• 資歷摘要： 現代美術家。
• [學術評論]：
• 岡田繁忠的作品脫離了傳統公募展的束縛，傾向於自由表現。他可能結合了抽象繪畫與拼貼技法，探索物質與畫面空間的關係，展現了現代美術家對形式的自由探索。

40. 知京一樹 (Chikyo Kazuki)

• 學術定位：抽象與具象的邊界
• 資歷摘要： 現代美術家。
• [學術評論]：
• 知京一樹的創作遊走在具象符號與抽象背景之間。他試圖在畫面上建立一種新的秩序，通過形式的解構與重組，引導觀眾進入一種超現實的視覺體驗，豐富了 NAU 展覽的視覺光譜。

41. チサカマキ (Chisaka Maki)

• 學術定位：感性色域的編織
• 資歷摘要： 現代美術家。
• [學術評論]：
• チサカマキ的作品在色彩運用上具有獨特的個人語彙。她傾向於運用柔和或對比強烈的色域來構建畫面，探討個人情感在當代生活中的微細波動，展現了現代美術中堅層對於「繪畫性」的堅持。

42. 山崎倖子 (Yamazaki Sachiko)

• 學術定位：現代水墨的抽象化
• 資歷摘要： 師從井原優山 / 福岡市美術館個展。
• [學術評論]：
• 山崎倖子雖師承現代水墨，但其作品已超越傳統範疇，走向抽象化。她在福岡市美術館的多次個展經驗，顯示其在處理黑白虛實與空間留白上的深厚功力，展現了水墨精神的現代轉化。

【Chapter III】 工藝的越界——場域與雕塑

Material Transgression: Craft as Spatial Sculpture

[策展導讀]

在日本藝術史中，「工藝 (Kogei)」長期被視為實用功能的附庸。然而，第 24 回 NAU 展宣告了工藝的 「越界 (Transgression)」。

本章節的藝術家不再製作案頭的賞玩之物，而是將陶土、絲線與金屬視為與空間搏鬥的武器。他們剝離了物質的「實用性」，釋放了其「觀念性」。從津田智子對泥土原始力量的喚醒，到中村白蘭對相撲儀式的解構，這些作品證明了：在數位虛擬時代，唯有物質的重量與觸感，能喚醒人類沉睡的感官。

【Section 1: 泥土的建築學 (Architecture of Clay) —— 當代陶藝裝置】

43. 津田智子 (Tsuda Tomoko)

• 學術定位：場域雕塑家 / 物質的抵抗
• 資歷摘要： NAU 成員 / 現代美術家 / 活躍於當代陶藝裝置。
• [學術評論]：
• 津田智子徹底顛覆了陶藝作為「工藝器皿」的傳統定義。對她而言，陶土是與空間搏鬥的武器。她利用烈火燒製後的收縮、裂痕與塌陷，展現物質最原始的暴力與生命力。在國立新美術館的高挑空間中，她的作品往往呈現出如同古代遺跡或地質構造般的建築感。她讓陶土保留了自身的重量感與粗糙肌理，這種物質性的「抵抗」，迫使觀眾無法僅僅用眼睛掃視，而必須用身體去感知作品在空間中的壓迫力。她是將「工藝」提升為 「空間藝術 (Spatial Art)」 的重要實踐者。

44. 李佳玲 (Lee, Jia-Ling)

• 學術定位：陶藝、壓克力與產業跨界
• 資歷摘要： 皇墨藝藝術董事長 / 獲全國學生美展佳作。
• [學術評論]：
• 李佳玲的創作展現了媒材邊界的自由跨越。她不滿足於單一形式，而是將「陶藝」的立體造型與「壓克力顏料」的現代色彩進行結合。李佳玲選擇用壓克力顏料直接介入創作，這賦予了作品更強烈的繪畫性與色彩飽和度。身為皇墨藝藝術董事長，她的視野不僅停留在創作，更延伸至藝術的產業化應用。在 NAU 展場中，她的作品呈現了一種將現代藝術抽象化、色彩時尚化的嘗試，展現了當代藝術如何介入生活美學與商業空間的潛力。

45. 田嶋初 (Tajima Hajime)

• 學術定位：人間國寶的現代轉身 / 釉色的極致
• 資歷摘要： 師從竹内彰（富本憲吉、近藤悠三系譜）/ 國立新美術館展出。
• [學術評論]：
• 田嶋初的背後，站著日本陶藝史的巨人。富本憲吉（色繪瓷）與近藤悠三（染付）皆為日本「人間國寶」，代表了民藝與現代陶藝的最高峰。田嶋初繼承了這條正統血脈，但他並未被傳統束縛。他的作品在造型上更加簡練、抽象，專注於釉色在燒製過程中的微妙變化。其作品展現了一種 「控制中的偶然」——在嚴謹的造型邏輯下，讓釉藥自然流動。這是傳統工藝技法與現代造型美學的完美結合。

46. 服部牧子 (Hattori Makiko)

• 學術定位：有機生物形態 / 微觀世界的放大
• 資歷摘要： 陶瓷設計團體「The Earth」創始成員 / 多治見市美術展市長獎。
• [學術評論]：
• 不同於津田智子的建築感，服部牧子的陶藝是 「生物形態 (Biomorphism)」 的。她的作品如同深海中的珊瑚、微觀下的孢子，或是某種未知的有機生命體。她極其細膩地處理陶土的表面肌理，創造出無數的孔洞與突起。這種對繁複細節的執著，賦予了堅硬的陶瓷一種柔軟的、會呼吸的錯覺。她的作品探討的是生命生長的律動，為冷硬的美術館空間注入了有機的生命力。

47. 針谷智子 (Hariya Tomoko)

• 學術定位：瀨戶傳統的國際化
• 資歷摘要： 瀨戶窯業專攻 / 師從志賀重雄 / 倫敦、巴黎個展。
• [學術評論]：
• 出身於日本六大古窯之一的「瀨戶」，卻活躍於當代藝術中心的倫敦。針谷智子的作品是兩種陶藝傳統的混血。她保留了瀨戶燒精湛的釉藥技術，但在造型上吸收了歐洲當代陶藝的觀念性與雕塑感。她是將日本傳統工藝語彙進行「國際化翻譯」的成功案例。

48. 山根真奈 (Yamane Mana)

• 學術定位：民俗學與設計的融合
• 資歷摘要： 武藏野美術大學工藝工業設計 / 妖怪物件競賽獲獎。
• [學術評論]：
• 山根真奈將「設計思維」帶入陶藝，並結合了日本深厚的 「民俗學 (Folklore)」 底蘊。她參與「妖怪」主題競賽的作品，顯示她擅長將傳統文化中的神怪符號進行現代轉化。她的作品不只是物件，更是具有敘事功能的角色，展現了當代工藝敘事的新可能性。

【Section 2: 纖維的解構 (Deconstruction of Fiber) —— 軟雕塑】

49. 中村白蘭 (Nakamura Hakuran)

• 學術定位：文化符號的解構者 / 儀式的重組
• 關鍵媒材： 大相撲化粧廻し (Sumo Kesho-mawashi) 的絹絲。
• [學術評論]：
• 中村白蘭進行的是一場高難度的文化實驗。她選用了極具日本文化負荷的媒材——相撲力士在神聖儀式中穿戴的「化粧廻し（刺繡圍裙）」之稀有絹絲。她將這些原本象徵力量與階級的織品進行 「解構 (Deconstruction)」，拆解為無數游離的絲線，並在空間中重新編織成如同宇宙胎動或神經網絡般的裝置。這是一種將「具象的儀式」昇華為「抽象的靈性」的過程，是本次展覽中最具文化衝擊力的裝置作品。

50. 岡本直枝 (Okamoto Naoe)

• 學術定位：工業結構與軟雕塑
• 資歷摘要： 武藏野美術大學碩士 / 前日產汽車設計師 / Antonio Ratti 獎。
• [學術評論]：
• 17 年的汽車設計師經歷，深刻影響了岡本直枝的藝術語彙。她看透了物質的「結構 (Structure)」。不同於傳統纖維藝術的編織感，她的作品更像是由纖維構成的建築模型。她利用纖維的張力與彈性，構建出精密的 3D 網格。獲得國際紡織大獎 Antonio Ratti 獎，證明了她在探索 「軟雕塑 (Soft Sculpture)」 結構可能性上的國際地位。

51. 桑山真麻弓 (Kuwayama Mayumi)

• 學術定位：光與纖維的科技跨界
• 資歷摘要： 大阪藝術大學 / 米蘭設計週 (MILANO GENIUS) 獲獎。
• [學術評論]：
• 桑山真麻弓是「藝術 (Art)」與「科技 (Tech)」的跨界者。她不僅使用纖維，更引入了「光 (Light)」。她的裝置作品常利用光導纖維或特殊的反光材質，在黑暗中創造出發光的虛體。這種創作模糊了物質的邊界，讓纖維變成了光的載體。她在米蘭設計週的成功，顯示其作品具有強烈的當代設計感與未來感。

52. オギノキヨコ (Ogino Kiyoko)

• 學術定位：纖維的平面繪畫性
• 資歷摘要： 現代纖維作家 / 台日交流展。
• [學術評論]：
• オギノキヨコ將纖維視為繪畫的顏料。她在抽象畫與平面藝術領域備受肯定，利用纖維的質感差異（粗糙、光滑、糾結）來替代筆觸。其作品在視覺上呈現出豐富的層次感，展現了纖維藝術在「掛畫（Tableau）」形式上的表現力。

53. 田中みづほ (Tanaka Mizuho)

• 學術定位：幾何拼貼的現代性
• 資歷摘要： Quilt Japan 評審賞 / 岐阜縣知事賞。
• [學術評論]：
• 田中みづほ將「拼布 (Quilt)」從手工藝提升為現代幾何藝術。她對色彩與圖形的構成具有極高的敏感度，透過布料的拼接，創造出如同 「歐普藝術 (Op Art)」 般的視覺錯視與律動感。這是一種溫暖的理性主義。

【Section 3: 鍊金術與跨界 (Alchemy & Cross-over)】

54. 土門理恵 (Domon Rie)

• 學術定位：金屬繪畫 / 廢墟美學
• 資歷摘要： 混合媒材與彫金 / 台日文化交流展。
• [學術評論]：
• 土門理恵是一位繪畫領域的「鍊金術士」。她將金屬工藝中的「腐蝕」、「鍛造」技法引入平面創作。她的畫布表面充滿了化學反應後的斑駁鏽跡與金屬光澤，呈現出一種 「工業廢墟 (Industrial Decay)」 般的頹廢美學。她成功地捕捉了物質在時間中衰變的過程，賦予了畫面一種沉重的歷史感。

55. SHUICHI GOTOH

• 學術定位：寶石學與繪畫的折射
• 資歷摘要： 巴西 FAAP 美術大學 / 珠寶設計師 / 彩色寶石專家。
• [學術評論]：
• SHUICHI GOTOH 的背景極為特殊——結合了巴西美術教育的熱情與珠寶設計的精密。他將 「寶石學 (Gemology)」 的視角帶入繪畫。其作品捕捉了寶石特有的折射光線與晶體切面，色彩鮮豔且具有南美洲的奔放。這是一種跨越了裝飾藝術與純藝術邊界的視覺實驗。

56. かとうかずみ (Kato Kazumi)

• 學術定位：金屬的詩意
• 資歷摘要： 愛知縣立藝術大學大學院 / 金屬藝術博物館展出。
• [學術評論]：
• かとうかずみ的作品足跡遍及世界百餘地，顯示其金屬藝術具有跨文化的感染力。她不強調金屬的堅硬冷冽，反而挖掘其柔韌與延展性。作品往往呈現出意想不到的輕盈感，彷彿金屬也能像紙張或布料一樣被摺疊、塑形，展現了高超的工藝技巧與詩意轉化。

57. 阿部雅光 (Abe Masamitsu)

• 學術定位：和紙的材質對話
• 資歷摘要： 阿波和紙會館賞 / 版畫家。
• [學術評論]：
• 阿部雅光專注於 「和紙 (Washi)」 與版畫的結合。獲得阿波和紙會館賞的他，深知紙張纖維的特性。他的作品不只是印在紙上，而是讓墨色滲入紙的肌理之中。這是一種對材質的深度對話，展現了日本工藝美學在平面藝術中的細膩應用。

58. 小澤雅美 (Ozawa Masami)

• 學術定位：素材的本真性
• 資歷摘要： 手工和紙藝術家 / 自然素材。
• [學術評論]：
• 小澤雅美回歸到紙的本源。利用楮、三椏等植物纖維進行手工漉紙創作。這是一種 「減法美學 (Subtractive Aesthetics)」，她不強加過多的顏色，而是讓紙張本身的紋理、厚度與光澤說話，呼應了當代藝術對自然素材與環保議題的回歸。

【Chapter IV】 未來的視界——數位崇高、身體與混種

Future Horizons: Digital Sublime, The Body & Hybridity

[策展導讀]

藝術的邊界在哪裡？當繪畫與工藝探討了「物質」的極限後，本章節將帶領觀眾進入「非物質」與「流動」的領域。

從 Tokyo Takashi 對數位風景的凝視，到具體派傳人湯沢茂好以肉身撞擊空間的行為藝術，再到 Aretokorekoko 融合次文化的奇異雕塑。這裡展示的是 21 世紀藝術的 「擴張場域 (Expanded Field)」——藝術不再僅僅是掛在牆上的物件，它是光學的幻象、瞬間的動作，以及跨越虛實的符號重組。

【Section 1: 數位崇高與影像 (The Digital Sublime & Imaging)】

此區塊展示攝影與數位藝術如何捕捉當代社會的視覺經驗。

59. トウキョウタカシ (Tokyo Takashi)

• 學術定位：數位時代的崇高美學
• 資歷摘要： 巴黎攝影大賽 (PX3) / 國際攝影獎 (IPA) / 倫敦國際創意大賽榮譽獎。
• [學術評論]：
• Tokyo Takashi 的作品是對康德 (Kant) 「崇高 (Sublime)」 概念的數位化回應。他鏡頭下的都市與自然，經過高度的數位重構與色彩增強，呈現出一種超乎肉眼所見的完美與壯麗。這種高飽和度、超現實的視覺語言，精準地捕捉了我們這個被螢幕與大數據包圍的時代特質。他在 PX3 與 IPA 等國際大賽的橫掃紀錄，證明了其視覺語彙具有跨越文化的普世吸引力，是當代數位攝影收藏的指標性人物。

60. YU-KI

• 學術定位：攝影心理學 / 關係美學
• 資歷摘要： Photo Communication® 協會碩士 / PCA 賞 / M84 賞。
• [學術評論]：
• 不同於 Tokyo Takashi 的形式美學，YU-KI 將攝影視為一種 「關係美學 (Relational Aesthetics)」 的工具。他的作品核心不在於構圖的精準，而在於透過鏡頭建立觀者與被攝者之間的情感連結。這是一種帶有溫度與心理學深度的影像實踐，提醒我們在冷漠的科技時代，攝影原本具有的溝通與療癒功能。

61. 西田裕子 (Nishida Yuko)

• 學術定位：時間的暫留
• 資歷摘要： 現代美術家 / 影像與平面創作。
• [學術評論]：
• 西田裕子的主題是 「暫留 (Suspension)」。在加速主義的時代，她透過影像或繪畫捕捉那些被忽略的靜止瞬間。作品帶有一種淡淡的憂傷與詩意，邀請觀眾放慢感官節奏，進行內在的凝視。

62. 宣和 (Senwa)

• 學術定位：風景的動態學
• 資歷摘要： 現代美術家 / NAU 常連參展。
• [學術評論]：
• 坂元宣和專注於 「風景的動態 (Dynamics of Landscape)」。他捕捉的不是靜止的景色，而是風的流動、光的推移。其作品色彩斑斕且充滿律動感，筆觸帶有速度感，展現了一種氣韻生動的現代風景畫風格。

【Section 2: 歷史的迴響與身體 (Echoes of History & The Body)】

此區塊連結了日本戰後最強的前衛運動「具體派」與行為藝術。

63. 湯沢茂好 (Yuzawa Shigeyoshi)

• 學術定位：具體派精神的繼承者 / 物質的行動
• 資歷摘要： AU (Artists Union) / 參與嶋本昭三 (具體派創始人) 企劃。
• [學術評論]：
• 湯沢茂好是連接 1950 年代日本前衛運動與當代的臍帶。作為「AU」的成員，他直接繼承了 「具體派 (Gutai)」 的精神——「不要模仿他人，創造前所未有之物」。他的作品不在於描繪精美的圖像，而在於呈現顏料與物質在瞬間行動中留下的痕跡。這是一種 「行動繪畫 (Action Painting)」 的活化石，強調創作當下的身體介入。

64. 万城目純 (Manjome Jun)

• 學術定位：身體政治 / 舞踏美學
• 資歷摘要： 鹿特丹國際電影節 / MHKA 美術館 (安特衛普)。
• [學術評論]：
• 深受日本 「舞踏 (Butoh)」 暗黑美學的影響，万城目純將身體轉化為一種雕塑。他在展場中的行為藝術或影像作品，往往探索身體在社會空間中的壓抑、扭曲與釋放。他的存在讓 NAU 展覽具有了 「現場性 (Liveness)」，將靜態的展示轉化為動態的儀式。

65. 和田幸三 (Kozo Wada)

• 學術定位：行動美術的硬骨
• 資歷摘要： 行動展 (1977-1985) / 新象展 / 2025年逝世。
• [學術評論]：
• 作為行動美術協會的老將，和田幸三的遺作展出是對一段歷史的致敬。他的作品保留了戰後日本美術那種粗獷、樸實且充滿生命力的精神。他長期在銀座畫廊圈的耕耘，見證了日本當代美術的變遷。他的畫作是那一代藝術家對「繪畫純粹性」堅持的最後證言。

【Section 3: 新雕塑與混種美學 (New Sculpture & Hybrid Aesthetics)】

此區塊展示年輕世代如何將次文化、街頭藝術與傳統美術結合。

66. アレトコレココ (Aretokorekoko)

• 學術定位：次文化混種 / 當代雕塑新浪潮
• 資歷摘要： 京都市立藝術大學 / SICF23 評審賞 / Independent Tokyo 特別賞。
• [學術評論]：
• 作為榮獲 SICF (Spiral Independent Creators Festival) 等年輕藝術家登龍門獎項的新銳，Aretokorekoko 代表了日本當代雕塑的未來。他的作品混合了動漫次文化 (Subculture)、消費社會符號與傳統雕塑技法，呈現出一種 「混種 (Hybrid)」 的奇異美感。這正是數位原生世代 (Digital Natives) 對物質世界的獨特解讀。

67. 渡邊健吾 (Watanabe Kengo)

• 學術定位：普普感性與都市符號
• 資歷摘要： 國際美術大賞公募展準大賞 / 紐約 Nippon Gallery。
• [學術評論]：
• 活躍於紐約與東京的渡邊健吾，代表了年輕世代的 「普普感性 (Pop Sensibility)」。他的作品色彩明快，可能融合了街頭塗鴉或動漫美學，反映了全球化消費文化下的視覺經驗。他在 ACT 藝術大賞展的獲獎，顯示其作品在商業與藝術之間取得了平衡。

68. woga

• 學術定位：自動書寫的潛意識 / 原生藝術的邊界
• 資歷摘要： 新宿眼科畫廊 / The Artcomplex Center of Tokyo / ACT。
• [學術評論]：
• woga 的作品觸及了 「原生藝術 (Art Brut)」 的邊界。他透過如同 「自動書寫 (Automatic Writing)」 般強迫性的重複描繪，試圖挖掘潛意識深層的圖景。在他的畫面上，自然風景與心理現象糾纏在一起，密集的線條與圖騰彷彿是某種神經傳導的視覺化紀錄。這種創作方式超越了單純的插畫敘事，帶有一種儀式性的專注與精神張力。

69. FASC

• 學術定位：匿名性與符號
• 資歷摘要： 現代美術家。
• [學術評論]：
• 以英文縮寫為名的 FASC，代表了展覽中 「匿名性 (Anonymity)」 與 「符號化」 的一面。其作品可能帶有街頭藝術、普普藝術或極簡主義的傾向，為展場帶來一股神秘而現代的氣息。

【Section 4: 全球游牧與駐村 (Global Nomads & Residency)】

70. 蕨迫みのり (Warabisako Minori)

• 學術定位：移動的風景 / 全球游牧
• 資歷摘要： 郵輪駐村藝術家 / 紐約 St. Augustine Church 永久收藏 / Saatchi Gallery。
• [學術評論]：
• 蕨迫みのり展現了一種極致的 「游牧 (Nomadism)」 視角。她的工作室是移動的郵輪，畫布上記錄的是不斷變換的地平線與文化光譜。她使用咖啡等非傳統媒材進行創作，這種帶有嗅覺與味覺暗示的繪畫，打破了地域主義的限制，呈現出一種真正的「全球化」視覺經驗。

71. グアリノアキ (Guarino Aki)

• 學術定位：歸國者的雙重視野
• 資歷摘要： 法國留學 / 富山縣駐村藝術家 / 越中藝術節優秀賞。
• [學術評論]：
• 擁有法國美術教育背景，卻選擇在富山縣進行駐村創作。Guarino Aki 的作品是一種 「文化混血」 的產物。她用歐洲當代藝術的語彙，重新詮釋日本鄉土建築（如土蔵、廢校）的空間記憶，展現了「歸國藝術家 (U-Turn Artist)」獨特的雙重視角。

【Chapter V】 連立的光譜——多樣性的微觀敘事 (前篇)

The Spectrum of Unite: Diversity & Micro-Narratives (Part A)

[策展導讀]

本章節補完展覽中最堅實的基層力量，包含學院派的技術骨幹、推動國際交流的網絡編織者，以及在各地美術館活躍的中堅藝術家。

【Section 1: 學院的骨幹與版畫思維 (Academic Backbone & Printmaking)】

此區塊藝術家多出身於東京藝術大學等頂尖學府，或專注於版畫（Printmaking）的間接性美學。

72. 塩見章 (Shiomi Akira)

• 學術定位：版畫工房的總監 / 技術與理論
• 資歷摘要： 東京藝術大學油畫科 / MMG 版畫工房藝術總監。
• [學術評論]：
• 作為 MMG 版畫工房的總監，塩見章對「印痕」有著深刻的理解。他的作品超越了單純的版畫複製功能，探討「版」與「畫」之間的辯證關係。其作品風格嚴謹，展現了東京藝大體系對媒材技術的極致追求與理論高度。

73. 田島弘行 (Tajima Hiroyuki)

• 學術定位：油畫與版畫的雙重奏
• 資歷摘要： 東京藝術大學油畫科 & 版畫研究室 / 版畫協會展。
• [學術評論]：
• 田島弘行遊走於油畫的直接性與版畫的間接性之間。東京藝大的雙重訓練使他能將版畫的層次思維帶入油畫，或將繪畫的筆觸帶入版畫。作品常見於地球堂畫廊等專業空間，展現了對色彩層次與平面構成的精準掌控。

74. 井上賢一 (Inoue Kenichi)

• 學術定位：環境與印痕
• 資歷摘要： 創形美術學校版畫系 / 名栗湖戶外美術展。
• [學術評論]：
• 井上賢一進行的是 「版畫介入環境」 的實驗。他將通常展示於室內的版畫帶入名栗湖等戶外場域，探討人造的印痕如何與自然的風、光、水進行對話，挑戰了版畫展示的邊界。

75. 上杉道子 (Uesugi Michiko)

• 學術定位：黑白的靜謐
• 資歷摘要： Shirota Gallery (現代版畫聖地) 個展。
• [學術評論]：
• 長期在 Shirota Gallery 展出，代表了上杉道子在版畫圈的地位。她的作品風格內斂，通過腐蝕或刻劃的痕跡，展現出一種靜謐的單色世界。在黑與白的細微調度中，展現了極高的技術完成度與精神深度。

76. 菅野純子 (Sugano Junko)

• 學術定位：環日本海的視野
• 資歷摘要： 武藏野美術短大 / 春陽展新人獎 / 俄羅斯雙年展。
• [學術評論]：
• 作為春陽展的新人獎得主，菅野純子繼承了春陽會「在野精神」的傳統。她活躍於環日本海（富山-俄羅斯）的藝術交流，作品風格樸實而有力，關注地緣政治下的文化連結與在地風土。

【Section 2: 全球網絡與韓國視角 (Global Networks & Korean Perspectives)】

此區塊透過 AAN (Asian Artists Network) 與國際畫廊網絡，連結亞洲與世界。

77. 山田陽子 (Yamada Yoko)

• 學術定位：網絡編織者 / 亞洲連結
• 資歷摘要： Asian Artists Network (AAN) 社長。
• [學術評論]：
• 山田陽子是本次展覽「連立」概念的重要推手。作為 AAN 社長，她的藝術實踐不僅在於個人的創作，更在於「連結」。她致力於構建日本與亞洲各國藝術家的對話平台，其作品往往帶有跨文化的象徵符號，是藝術外交的視覺體現。

78. 柳賢淑 (Ryu Hyun-suk)

• 學術定位：韓法混血的主流菁英
• 資歷摘要： 弘益大學 / 巴黎大茅舍藝術學院 / 三星、現代汽車收藏。
• [學術評論]：
• 柳賢淑的履歷代表了韓國藝術界的菁英路線。弘益大學與巴黎大茅舍的背景，使她的作品兼具韓國單色畫的精神性與歐洲抽象畫的構成感。被三星、現代汽車等巨頭收藏，證明了其作品在商業與學術上的雙重成功，展現了大氣、穩健的國際風格。

79. YUKIKO

• 學術定位：水彩的當代性
• 資歷摘要： 美國 Emerson Umbrella Center / 米蘭 M.A.D.S Gallery。
• [學術評論]：
• YUKIKO 將傳統水彩畫帶入了當代藝術領域。在美國與米蘭的展出經驗，使她的水彩作品擺脫了小品格局，具備了油畫般的厚度與空間張力。她探索水與顏料在紙上的偶然流動，展現了東方媒材在西方脈絡下的現代轉譯。

80. Akiko SIACCA

• 學術定位：市場與創作的雙棲
• 資歷摘要： 多摩美術大學 / 銀座畫廊社長 / 700場展覽經驗。
• [學術評論]：
• 身為畫家同時也是銀座畫廊社長，Akiko SIACCA 擁有獨特的雙重視角。她的作品風格通常色彩鮮明、具備高度的裝飾性與市場親和力。700 場展覽的驚人資歷，顯示她對藝術生態運作的深刻理解與充沛的創作能量。

81. HIROMI TOMINAGA

• 學術定位：大尺幅的包覆感
• 資歷摘要： 多摩美術大學 / 銀座各大畫廊。
• [學術評論]：
• HIROMI TOMINAGA 的創作專注於 「大尺幅 (Large-scale)」 繪畫。她試圖用 「色域 (Color Field)」 包覆觀眾的身體感知。其作品在構圖上大膽簡練，強調色彩本身的情感力量，在展場中具有強烈的視覺存在感。

【Chapter V】 連立的光譜——多樣性的微觀敘事 (後篇)

The Spectrum of Unite: Diversity & Micro-Narratives (Part B)

【Section 3: 立體、空間與自然 (Sculpture, Space & Nature)】

此區塊關注3D空間的佔領與自然素材的對話。

82. 藤下覚 (Fujishita Satoru)

• 學術定位：戶外雕塑的量體
• 資歷摘要： 雕刻之森美術館賞 / 獨立美術協會新人賞。
• [學術評論]：
• 獲得「雕刻之森美術館賞」是極高的榮譽，通常頒給能與大自然對話的大型雕塑。藤下覚的作品具有強烈的構造性與 「量體感 (Volume)」，他善於利用材質的重量與平衡，在空間中創造出具有紀念碑性的視覺焦點。

83. 內平俊浩 (Uchihira Toshihiro)

• 學術定位：雕刻的工藝精神
• 資歷摘要： 名古屋藝術大學雕刻科 / KOBATAKE工房 / Hands 大賞。
• [學術評論]：
• 內平俊浩的作品結合了雕塑的造型力與工藝的精細度。畢業於 KOBATAKE 工房的背景，使他對材質（可能是木、石或金屬）有著職人般的執著。Hands 大賞的獲獎經歷，顯示其作品具有獨特的創意與手作溫感。

84. 加茂富美子 (Kamo Fumiko)

• 學術定位：教育者的造型語彙
• 資歷摘要： 武藏野美術大學雕塑科 / 美術教師。
• [學術評論]：
• 加茂富美子的作品風格穩健，展現了學院派雕塑對形態、體積與空間關係的嚴謹探討。作為美術教師的背景，使她的作品往往帶有一種啟發性，試圖透過造型傳達對自然或人文的關懷。

85. 鈴木齊 (Suzuki Hitoshi)

• 學術定位：大地與生命的循環
• 資歷摘要： 東京學藝大學 (陶藝) / 受星野道夫啟發。
• [學術評論]：
• 受到生態攝影大師星野道夫《在漫長旅途中》的啟發，鈴木齊的作品關注「生命循環」。他以陶藝為媒介，作品充滿了土壤的溫度與自然的質感。他試圖透過藝術喚醒都市人對自然環境的敬畏，作品具有強烈的 「生態倫理 (Ecological Ethics)」 色彩。

【Section 4: 現代繪畫與沙龍美學 (Modern Painting & Salon Aesthetics)】

此區塊包含具象、半抽象以及深受日法沙龍文化影響的畫家。

86. 青木洲子 (Aoki Kuniko)

• 學術定位：法式沙龍的優雅
• 資歷摘要： 師從白尾勇次 / 日法現代美術展文部科學大臣賞。
• [學術評論]：
• 青木洲子的作品流露出一種純正的「日法沙龍」氣質。她在色彩運用上極其考究，追求畫面的和諧與高雅。她不追求激進的變形，而是在具象描繪中注入現代主義的光影層次，展現了日本洋畫界對「法式品味」的在地轉化。

87. 文珠川清 (Monjugawa Kiyoshi)

• 學術定位：文化外交的視覺形式
• 資歷摘要： 日法現代美術展執行委員長 / 日本大學藝術學部。
• [學術評論]：
• 身為日法現代美術展執行委員長，文珠川清的作品風格大氣穩健，強調畫面的敘事性與人文精神。他的畫作旨在跨越語言障礙，傳遞普世的美學價值，是標準的國際沙龍風格大作。

88. 淺野あかね (Asano Akane)

• 學術定位：新萊比錫畫派的迴響
• 資歷摘要： 京都造形藝術大學 / 德國萊比錫展出。
• [學術評論]：
• 活躍於德國萊比錫的經歷，深刻影響了淺野的視覺語言。她的繪畫帶有 「新萊比錫畫派 (New Leipzig School)」 的特徵——將具象敘事與超現實場景結合。畫面帶有冷靜的疏離感，色彩灰階中透著微光，是京都技法與歐洲觀念的碰撞。

89. 佐々木綱昌 (Sasaki Tsunamasa)

• 學術定位：裝飾性與普世美感
• 資歷摘要： AJAC 會員 / 損保 JAPAN 美術獎 / 歐美獲獎。
• [學術評論]：
• 佐佐木綱昌在歐美的頻繁獲獎經歷，顯示其作品風格具有強烈的裝飾性與跨文化溝通力。他善於運用色彩的對比與構成，創造出既現代又具有東方底蘊的視覺圖騰。

90. 尾田芳子 (Oda Yoshiko)

• 學術定位：半抽象的詩意
• 資歷摘要： 武藏野美術大學碩士 / 新象展。
• [學術評論]：
• 尾田芳子試圖在具象與抽象之間尋找平衡。她將現實中的物象符號化，保留可辨識的形體但賦予主觀色彩，展現了一種半抽象的現代詩意。

91. 穴澤誠 (Anazawa Makoto)

• 學術定位：結構寫實主義
• 資歷摘要： 二紀展 / 千葉縣知事獎。
• [學術評論]：
• 作為「二紀會」的常客，穴澤誠堅守著 「結構寫實 (Structural Realism)」 的底線。他的作品即便在處理風景或靜物時，也能看出嚴謹的幾何骨架與厚實的量感，是對抗輕薄圖像時代的視覺宣言。

92. 伊藤理恵子 (Ito Rieko)

• 學術定位：自由美術的探索
• 資歷摘要： 武藏野美術學園 / 自由美術展。
• [學術評論]：
• 早期參與自由美術展的經歷，奠定了伊藤理恵子不拘一格的創作態度。她的作品可能涉及多種媒材的實驗，展現了對形式自由的持續探索。

【Section 5: 概念、新銳與跨界 (Conceptual, Emerging & Cross-Over)】

此區塊包含觀念藝術、音樂跨界、以及畫廊圈的新銳力量。

93. 晶蔵 (Shozo)

• 學術定位：現象學藝術 / 知覺生成
• 資歷摘要： 京都藝術大學碩士 / 亀山三年展。
• [學術評論]：
• 晶蔵的研究領域是 「知覺生成 (Genesis of Perception)」。這意味著他的藝術不只是製造物件，而是製造「體驗」。透過裝置或影像，他探討人類如何感知時間與空間，作品具有強烈的哲學思辨色彩。

94. 岡山正規 (Okayama Masaki)

• 學術定位：構想建築 / 存在論
• 資歷摘要： 京都藝術大學 / 師從梅原猛（哲學家）/ 波蘭美術館收藏。
• [學術評論]：
• 師從哲學家梅原猛，岡山正規的作品是「視覺化的哲學」。他提出的「構想建築」概念，將繪畫視為一種思維的架構。作品被波蘭國立美術館收藏，證明其在探討藝術本體論上的學術價值。

95. 野村雅美 (Nomura Masami)

• 學術定位：聽覺的視覺化
• 資歷摘要： 即興吉他手 / 抽象畫家。
• [學術評論]：
• 野村雅美的繪畫是「看得見的聲音」。作為即興吉他手，他的筆觸如同演奏的音符，充滿了速度感與斷裂的節奏。觀看他的畫作，彷彿能聽到色彩在畫布上碰撞的聲音。

96. 梶山美祈 (Kajiyama Miki)

• 學術定位：記憶與時間的裝置
• 資歷摘要： 京都精華大學博士前期 / KUNST ARZT 畫廊。
• [學術評論]：
• 活躍於京都實驗畫廊 KUNST ARZT，梶山美祈擅長處理 「場域特定 (Site-specific)」 的裝置。她關注空間記憶與時間的流逝，作品往往帶有一種考古學般的詩意。

97. 片切かすみ (Katagiri Kasumi)

• 學術定位：平面設計感的現代構成
• 資歷摘要： 現代美術家展新人賞 / 美の起原大杉賞。
• [學術評論]：
• 片切かすみ成功結合了前衛性與商業潛力。她的作品帶有強烈的平面設計感，運用硬邊幾何與鮮豔色彩，構建出充滿節奏感的視覺迷宮，是 NAU 中備受矚目的新銳。

98. 関野凛太郎 (Sekino Rintaro)

• 學術定位：學院菁英的具象新路
• 資歷摘要： 大阪藝術大學博士 / Shell 美術賞。
• [學術評論]：
• 獲得 Shell 美術賞與三菱商事 Art Gate Program 的支持，関野凛太郎是典型的學院菁英。他的作品在具象繪畫中注入了當代的疏離感與物質性，展現了年輕世代對繪畫傳統的繼承與反叛。

99. かみむらみどり (Kamimura Midori)

• 學術定位：社會學視角的插畫敘事
• 資歷摘要： 金城學院大學社會學 / 3331 千代田藝術祭鴻池朋子賞。
• [學術評論]：
• 社會學背景賦予了她獨特的觀察視角。作品風格輕盈，常帶有插畫敘事特徵，探討現代社會中人際關係的疏離或微小的日常奇蹟。

100. 末本太丸 (Suemoto Taimaru)

• 學術定位：時間的溫度
• 資歷摘要： Gallery Hinoki 選拔展。
• [學術評論]：
• 末本太丸的作品在冷峻的當代藝術潮流中，保留了溫潤的人文質地。他不追求視覺的暴力，而是邀請觀者在層層色彩的疊加中，發現時間與記憶的重量。

101. Masaya Iwasaki

• 學術定位：國際都會的漫遊者
• 資歷摘要： 銀座 Modern Art / 紐約 The Nippon Club / 巴黎。
• [學術評論]：
• 他的參展履歷顯示出一種典型的「當代日本藝術家出海路徑」。作品具有高度的普世性，在風格上傾向於現代主義的抽象或半具象，便於跨文化的視覺溝通。

102. 田村武 (Tamura Takeshi)

• 學術定位：社會參與式藝術的實踐
• 資歷摘要： 札幌國際藝術祭 (SIAF) 2017 參與者 / 天神山藝術工作室駐村。
• [學術評論]：
• 田村武的創作核心在於「場域 (Site)」與「關係 (Relation)」。作為札幌國際藝術祭的參與者，他的藝術實踐往往脫離了畫廊的白盒子，進入社區與公共空間。他關注人、環境與藝術行動的互動，作品具有強烈的社會參與性質，是 NAU 展覽中 「藝術介入社會」 的重要案例。

103. 杉山まさし (Sugiyama Masashi)

• 學術定位：原始能量的呼喚
• 資歷摘要： 非洲藝術博物館相關作家 / 個展《裂開的大地與牛的吶喊》。
• [學術評論]：
• 杉山まさし的作品與「非洲藝術博物館」有關聯，這在當代日本藝術家中極為罕見。他的創作主題如《裂開的大地》，顯示其深受 「原始主義 (Primitivism)」 與大地能量的影響。筆觸粗獷、色彩厚重，試圖在現代文明中喚醒一種野性的、根源性的生命力。

104. 福江悦子 (Etsuko Fukue)

• 學術定位：禪與當代的共振
• 資歷摘要： 真宗大谷派僧侶 / PESCARART 國際當代藝術獎 (義大利)。
• [學術評論]：
• 身為僧侶，福江悦子的藝術即是 「修行」。她探討「空」、「無常」等佛教哲學，但並非使用傳統佛畫形式，而是轉化為當代抽象語彙。其作品在義大利獲獎，證明了這種超越宗教藩籬的東方精神性，能與西方當代藝術進行深度的精神對話。

105. 吳采恩 (Wu, Tsai En)

• 學術定位：跨越海峽的學院新銳
• 資歷摘要： 台灣高雄師範大學碩士 / 日本第81回現展入選 / 推薦於中國美術學院。
• [學術評論]：
• 作為台灣代表團中最年輕的新銳之一，吳采恩展現了台灣學院美術教育的紮實底蘊。她成功入選日本歷史悠久的「現展」，證明其作品具備與日本當代藝術對話的實力。她的創作在形式上嚴謹，但在觀念上開放，是台日藝術交流未來的潛力股。

106. チサカマキ (Chisaka Maki)

• 學術定位：感性與色彩的編織
• 資歷摘要： 現代美術家。
• [學術評論]：
• チサカマキ的作品在色彩運用上具有獨特的個人語彙。她可能傾向於運用柔和或對比強烈的色調來構建畫面，探討個人情感在當代生活中的微細波動，展現了現代美術中堅層對於「繪畫性」的堅持。

107. 知京一樹 (Chikyo Kazuki)

• 學術定位：抽象與具象的邊界
• 資歷摘要： 現代美術家。
• [學術評論]：
• 知京一樹的創作遊走在具象符號與抽象背景之間。他試圖在畫面上建立一種新的秩序，通過形式的解構與重組，引導觀眾進入一種超現實的視覺體驗。

108. 二宮ちとせ (Ninomiya Chitose)

• 學術定位：視覺語彙的多樣性
• 資歷摘要： 活躍於當代美術聯展。
• [學術評論]：
• 二宮ちとせ的作品經常出現在重要的聯展名單中，顯示其創作具有穩定的品質與持續的展出活力。她的作品風格可能在探討物質質感與空間構成，忠實反映了日本當代藝術家在媒材探索上的多元面向。

109. スズマドカ (Suzumadoka)

• 學術定位：潛意識的符號學
• 資歷摘要： 現代美術家。
• [學術評論]：
• 作為展覽中的神秘存在，スズマドカ的作品可能帶有強烈的符號化特徵。無論是透過線條的糾結還是色彩的平塗，她試圖挖掘潛意識深層的圖景，為展覽帶來一股不可預測的新鮮氣息。

110. NIL

• 學術定位：都市底層的脈動
• 資歷摘要： 活躍於澀谷 No.12 畫廊、Bar SiSi 築地。
• [學術評論]：
• NIL 的活動據點（澀谷、築地酒吧畫廊）顯示其作品深深植根於東京的 「都市底層 (Urban Underground)」 文化。其創作可能涉及塗鴉、拼貼或現成物挪用，直接反映了年輕世代在都市叢林中的生存狀態與視覺經驗，帶有強烈的街頭氣息。

【Chapter VI】 總集篇——全光譜的最後拼圖 (The Final Spectrum)

111. 石井三子 (Ishii Mitsuko)

• 學術定位：藝術世家的生活美學
• 資歷摘要： 雕塑家石井鶴造之女 / 生活設計研究。
• [學術評論]：
• 出身顯赫的藝術世家，石井三子的創作跨越了純藝術與生活設計的藩籬。她繼承了家族深厚的美學素養，將藝術視為生活的一部分，作品流露出一種優雅、洗鍊的古典氣質，同時兼具現代設計的實用理性。

112. 飯田稔 (Iida Minoru)

• 學術定位：舞台美術的空間敘事
• 資歷摘要： 東京藝大 / 伊藤熹朔賞（舞台美術巨匠獎）。
• [學術評論]：
• 飯田稔的繪畫具有強烈的「劇場感」。獲得舞台美術界最高榮譽「伊藤熹朔賞」的背景，使他處理畫布空間如同調度舞台。他的作品具有宏大的敘事性與戲劇性的光影，引導觀眾進入一個個精心佈局的視覺故事中。

113. 高橋詩桜里 (Takahashi Shiori)

• 學術定位：學術研究與創作的結合
• 資歷摘要： 九州產業大學博士前期 。
• [學術評論]：
• 作為年輕的學者型藝術家，高橋詩桜里代表了九州學派的新生代力量。她在 AAN (Asian Artists Network) 的活躍，顯示她具備國際視野。其作品往往在探討當代藝術的理論問題，展現了學術研究與感性創作的平衡。

114. 中島優理 (Nakajima Yuri)

• 學術定位：時尚與線條的交響
• 資歷摘要： 文化服裝學院 / 上野之森美術館展出。
• [學術評論]：
• 出身於日本時尚最高學府，中島優理的作品帶有強烈的 「織品感 (Texturality)」。她對布料的垂墜、剪裁與人體結構有獨特理解，其繪畫往往流露出一種時尚插畫般的流暢線條，將服裝設計的美學轉化為純藝術的表現。

115. 林和子 (Hayashi Kazuko)

• 學術定位：光學曼陀羅
• 資歷摘要： 師從萬花鏡大師山見浩司 / 光學藝術。
• [學術評論]：
• 林和子將 「萬花筒 (Kaleidoscope)」 的光學原理帶入平面創作。她利用鏡像折射與對稱幾何，創造出璀璨迷幻的曼陀羅圖騰。這是一種基於精密計算的視覺魔術，探討光與色彩在幾何結構中的無限可能性。

116. 福田瑞枝 (Fukuda Mizue)

• 學術定位：怪談文學的視覺化
• 資歷摘要： 《日本不思議物語集成》插畫 / 現代思潮社。
• [學術評論]：
• 福田瑞枝的作品具有強烈的 「文學性」。她參與怪談文學的插畫創作，使她擅長營造幽暗、神秘且帶有敘事張力的氛圍。她的畫作如同通往異世界的窗口，探索人類心理深處對未知的恐懼與好奇。

117. 松村清司 (Matsumura Kiyoshi)

• 學術定位：自然與人工的辯證
• 資歷摘要： 現代美術家 / 裝置與繪畫。
• [學術評論]：
• 松村清司在精細的描繪中探討 「自然與人工」 的界線。他的作品結合了繪畫與裝置，呈現出一種冷靜的觀察視角，試圖在混亂的都市景觀與有機的自然形態之間，尋找視覺的秩序與平衡。

118. 松下佐代 (Matsushita Sayo)

• 學術定位：國際藝博會的寵兒
• 資歷摘要： 蘇黎世 Art International / 紐約 Pangea 展。
• [學術評論]：
• 頻繁參與蘇黎世、紐約等國際藝術博覽會，松下佐代的作品具有強烈的 「市場導向」 與國際性。她的風格色彩鮮明、裝飾性強，展現了日本當代藝術中那種能跨越文化隔閡、直接訴諸視覺愉悅的普世美感。

119. 山内孝一 (Yamauchi Koichi)

• 學術定位：信州風土的紀錄者
• 資歷摘要： 和光大學 / 長野縣各大美術館展出。
• [學術評論]：
• 山内孝一活躍於長野縣（信州），其創作深深植根於那裡的高山與峽谷。不同於都市藝術家的冷漠，他的作品帶有一種 「風土 (Fudo)」 的厚度。他在飯田市美術博物館等地的活動，展現了日本地方美術館體系中深厚的人文底蘊。

120. やちぐちひろゆき (Yachiguchi Hiroyuki)

• 學術定位：東京畫廊生態的切片
• 資歷摘要： 國立新美術館 / GALERIE SOL。
• [學術評論]：
• Yachiguchi 是東京銀座/京橋一帶現當代畫廊的活躍份子。他的參展履歷顯示他是東京畫廊生態圈的中堅力量。其作品具備駕馭大型展覽空間的能力，傾向於色彩鮮明或具備強烈視覺符號的現代繪畫。

【III. 特別企劃：亞洲的戰略樞紐 (Special Feature: The Asian Nexus)】

王穆提 (WANG MUTI)

• 學術定位：亞洲當代藝術的戰略家 / 檔案構建者 (The Strategist & Archivist)
• 資歷摘要： 日本現代美術家協會（現展）台灣連絡所所長 / NAU 台灣首位成員 / 策展人。
• [學術評論]：作為藝術家，他的作品延續了他在日本「現展 (GENZAN)」獲獎的脈絡，展現了對空間與材質的高度敏銳。他擅長將個人記憶與歷史檔案進行「編碼」與「重構」，其作品往往帶有一種冷靜的秩序感，試圖在混亂的資訊爆炸時代中建立視覺的索引。
• 然而，他更重要的貢獻在於「連結」。作為台灣與日本藝術生態系的關鍵節點（Nexus），他協助超過 2,000 位藝術家建立獨立數位資料庫平台，並策劃多次高規格台日交流展。他的創作本身就是一種 「關係美學 (Relational Aesthetics)」 的實踐。王穆提的存在，證明了當代藝術家不僅是作品的生產者，更是藝術生態的編織者。
• 王穆提在本次展覽中的角色是雙重的：他既是創作者，也是一位具有宏觀視野的「戰略家 (Strategist)」。

The 24th NAU 21st Century Art Joint Exhibition: Introduction of Participating Members and Affiliated Art Groups

【I. Curatorial Statement & Philosophy】

NAU History & Philosophy: From Atomized Individuals to Rhizomatic Unity

Entering the 21st century, art is no longer an isolated ivory tower but an organic network of lateral connections. Since its inception, NAU (New Art Unite / 21st Century Art Joint Exhibition) has attempted to respond to the "Vertical Society" structure that has long ossified the Japanese post-war art scene. Traditional public exhibition systems are often trapped in master-apprentice hierarchies and strict review classes, which limit the most precious qualities of contemporary art—free will and heterogeneous dialogue1.

The concept of "Unite / Renritsu" proposed by NAU is a radical ecological experiment that echoes Gilles Deleuze's theory of the "Rhizome." It advocates for "horizontal connection" across disciplines, borders, and generations while retaining the artist's "Ontological Independence." Here, the spirituality of avant-garde calligraphy, the materiality of Fauvist painting, and the virtuality of digital video are no longer mutually exclusive schools, but organic components that jointly constitute the visual landscape of the 21st century2.

The 24th exhibition marks NAU's transformation from a "domestic group exhibition in Japan" to a "Pan-Asian Art Nexus." Through structural alliances with Taiwanese and Korean art groups, NAU is redefining the boundaries of East Asian contemporary art, proving that art can maintain differences within "unity" and generate new meaning within "dialogue"3.

【Web View】The 24th NAU 21st Century Art Joint Exhibition: Interactive Artist Network Map

【II. Venue Significance】

The National Art Center, Tokyo: The Wall-less Cathedral of Dialogue

This exhibition is held at the supreme hall of Japanese art—The National Art Center, Tokyo (NACT)—which carries extremely high symbolic significance4.

Designed by the architectural master Kisho Kurokawa, this art center itself is an embodiment of the philosophy of "Symbiosis." It has no Permanent Collection, meaning it rejects the fixation of history and remains forever open to the "now" of artistic expression. Its immense wavy glass curtain wall and column-free exhibition space provide the perfect stage for NAU's large-scale installations and spatial calligraphy. Exhibiting here means that the participating artists have passed rigorous academic review and entered the formal vision of Japanese contemporary art history. This is not just a display space, but a sacred field that transforms individual creation into "public memory"5.

Analysis and Connection of "Art Groups / Exhibiting Galleries / Academic Spheres" of Participating Artists

I. Methodology and Reading Guide

1) Three-Layer Structure Network Analysis Framework

• Group Layer (G): Centered on NAU (21st Century Art Joint Exhibition), extending outward to Salon Blanc (Japan-France Modern International Art Exhibition), Taiheiyo Art Society, Bokujin-kai, AJAC, Japan Artists Association, Asia Artists Network, AU (Artists Union), GENZAN (Contemporary Art Association), etc.
• Gallery Layer (A): With the Tokyo Ginza-Kyobashi gallery belt as the core node (such as Gallery Hinoki, K’s Gallery, Shirota Gallery, Artcomplex Center of Tokyo (ACT), Gallery Natsuka, GALLERY AND LINKS 81, etc.), extending to cooperative spaces in Yokohama, Nagoya, Kyoto, Osaka, and overseas (Paris, New York, Milan, etc.).
• Academic Layer (S): Centered on Tokyo University of the Arts, Tama Art University, Musashino Art University, Joshibi University of Art and Design, Kyoto University of the Arts, Aichi Prefectural University of the Arts, Osaka University of Arts, Hongik University (Korea), Académie de la Grande Chaumière (France), etc., connecting lineages of mentorship (master-apprentice systems, laboratories) and inter-school interactions (visiting scholars, joint programs, exchange exhibitions).

2) Nodes & Edges

• Nodes: Artists, Groups (Associations/Exhibition Organizations), Galleries (including Museums), Academic Institutions.
• Edges:
  • Member/Participating/Awarded (Artist ↔ Group);
  • Solo/Joint Exhibition Cooperation (Artist ↔ Gallery/Museum);
  • Degree/Mentorship/Research/Lecturer (Artist ↔ Academic Institution);
  • Curation/Judging (Artist/Group ↔ Gallery/Museum);
  • Cross-national Exchange (Group ↔ Overseas Gallery/Museum/School).

3) How to Read the Network

• Concentric Circles: NAU is the first circle; outward are galleries with high-frequency interaction with NAU (e.g., Hinoki, K’s); the outer circle consists of other groups overlapping with NAU participating artists (e.g., Salon Blanc, Taiheiyo Art Society, Bokujin-kai, GENZAN) and overseas nodes (Paris, New York, Milan).
• Bridge Nodes: Artists capable of connecting multiple layers (e.g., those with NAU membership who are also active in other major groups or overseas platforms), or curator-type artists with strong connections at both academic and exhibition ends.
• Media Communities: Communities of Calligraphy/Ink, Fiber Art, Printmaking, Oil Painting/Abstraction, Ceramics/Sculpture, and Photography forming "Media Networks" at the intersection of galleries and academia.

II. Overview of Core Nodes

(G) Groups and Joint Exhibition Platforms

• NAU (21st Century Art Joint Exhibition): The center of this analysis; a large number of artists participate as NAU members or recommended entrants.
• Salon Blanc (Japan-France Modern International Art Exhibition): Related to French institutions and French Embassy awards; Kuniko Aoki, Hiroko Kuboki, Kiyoshi Monjugawa, Ryokka Yoshihara, etc., intersect with this platform6666666666.
• +3
• Taiheiyo Art Society: One of the origins of Japan's earliest Western-style painting groups; Hiroko Kuboki is an Operating Committee Member/Member/Tokyo Branch Member777.
• +1
• Bokujin-kai: An important source of Japanese post-war modern calligraphy; Hosui and Sawako Watanabe are closely linked to this lineage8888888.
• +2
• GENZAN (Contemporary Art Association): Wang Muti is the Director of the Taiwan Liaison Office; Wu Tsai En was selected for the 81st GENZAN exhibition in 20259.
• Asia Artists Network (AAN): Yoko Yamada is the President; horizontally connecting cooperation within the Asian sphere10.
• AU (Artists Union): Intersects with the projects of Gutai Art founder Shozo Shimamoto; Shigeyoshi Yuzawa, Mayumi Kuwayama, etc., are involved11.
• AJAC, Japan Artists Association: Sasaki Tsunamasa is an AJAC member; multiple artists also interact with the Japan Artists Association1212.
• +1

(A) Galleries and Museums

• Gallery Hinoki (Kyobashi): A core Tokyo gallery node where NAU artists appear with high frequency13.
• K’s Gallery (Ginza): Multiple artists hold annual solo exhibitions here, overlapping with the NAU community14.
• Shirota Gallery (Ginza): Michiko Uesugi, Natsuko Hamada, etc., are active here15.
• Artcomplex Center of Tokyo (ACT): woga, Kengo Watanabe, YU-KI, etc., have exhibited or won awards here1616161616.
• +2
• Gallery Natsuka / GALLERY AND LINKS 81 / Gallery KINGYO / Kosugi Gallery: Typical cooperative nodes between NAU and the metropolitan gallery belt.
• The National Art Center, Tokyo (Roppongi): The main venue for NAU exhibitions; multiple artists also participate in other large public exhibitions or exchange exhibitions here17.
• Overseas Nodes: Paris Galerie Métanoïa, Espace Sorbonne 4; New York The Nippon Gallery, The Nippon Club; Milan M.A.D.S. ART GALLERY; multiple museums and cultural centers in Seoul, etc.181818181818181818.
• +4

(S) Academic Institutions

• Tokyo University of the Arts: Rie Tabata (Lecturer experience/Research), Hajime Tajima/Hiroyuki Tajima/Akira Shiomi (Oil Painting/Printmaking backgrounds); Nobuhito Udagawa (Master's in Art Research)1919191919.
• +2
• Tama Art University: Akiko SIACCA, HIROMI TOMINAGA, Saka Mitsuhiro, etc.202020.
• +2
• Musashino Art University: Hiroko Kuboki, Kobayashi Tetsuro, Rie Tabata, Mana Yamane, etc.212121.
• +1
• Joshibi University of Art and Design: Noriko Isozaki, Ryoko Fukao, etc.2222.
• +1
• Kyoto University of the Arts (formerly Kyoto University of Art and Design): Akane Asano, Shozo, etc.2323.
• +1
• Aichi Prefectural University of the Arts: YUKIKO (Watercolor League exhibition history), Tomoko Hariya (Seto Ceramics major) related backgrounds24.
• Osaka University of Arts: Rintaro Sekino (Doctoral program in Art Production), etc.25.
• Hongik University (Korea), Ewha Womans University: HOLEE, Hyun-suk Ryu, etc.2626.
• +1
• Académie de la Grande Chaumière (Paris): Hyun-suk Ryu's study abroad background; connecting to the French art education tradition27.

III. Network Structure: "Concentric Circles" and "Bridge Nodes" Departing from NAU

1) Central Circle (NAU Direct Affiliates and High-Frequency Interactors)

• Toshiaki Takahashi (NAU President): As the core figure of the system and exhibition affairs, he is the central hub of the NAU network, extending to the Tokyo Ginza gallery belt, The National Art Center, Tokyo, and other large platforms like NICAF/Taro Okamoto Award for Contemporary Art28.
• Yuji Hashiya (NAU Secretary General): The bridge for gallery cooperation (Hinoki, Natsuka, Seiko Gallery) and overseas exchange (Spain, Japan-Europe)29.
• Junko Kanemaru, Kazuyuki Nihira, Fuka Kanda, Taimaru Suemoto, Noboru Taira, Shiori Takahashi, Makiko Tonuma, Masaya Iwasaki, Sayo Matsushita, Kiyoshi Matsumura, Maho Laplante, Masashi Sugiyama, Rintaro Sekino, Kengo Watanabe, Sawako Watanabe, Nobuyoshi Watanabe, Hiroyuki Yachiguchi, Masami Nomura, Senwa, Yuko Nishida, Chitose Ninomiya, Yoko Yamada etc.: Forming a high-frequency interaction "community core" between NAU and the Ginza-Kyobashi gallery cluster30303030303030303030303030303030303030303030303030303030303030303030303030303030303030.
• +4

2) Bridge Nodes (Key Connectors Across Groups/Transnational Platforms)

• Kuniko Aoki: Linked via Salon Blanc (Japan-France Modern International Art Exhibition) awards (French Embassy Prize, Minister of Education, Culture, Sports, Science and Technology Prize), closely connecting NAU with French platforms31.
• Hiroko Kuboki: Taiheiyo Art Society Operating Committee Member + NAU; and continues to participate in the Tokyo Metropolitan Art Museum and Salon Blanc, connecting the "Japanese Western Painting Tradition Lineage—NAU—France Exchange"32.
• Sawako Watanabe: Former NAU President + Bokujin-kai member; joins NAU with the post-war modern calligraphy source33.
• Mayumi Kuwayama: Osaka University of Arts Fiber + AU/Gutai-related project participation; connecting Kansai Fiber—Gutai Art—Overseas (Milan) Design Week34.
• Shigeyoshi Yuzawa: OBARA Art Institute background + AU participation; connecting NAU with Gutai Art projects and regional institute networks35.
• Hyun-suk Ryu (Korea) / HOLEE (Korea): Korean academic background + Seoul museum cluster + Paris galleries; connecting NAU with both ends of Korea and France3636.
• +1
• Wang Muti (Taiwan): Director of GENZAN Taiwan Liaison Office + NAU's first Taiwanese member; connecting NAU—GENZAN—Taiwanese universities and cultural institutions—Beijing 798 and other media platforms, and strengthening cross-national data and publicity flow through curation and database construction (2,000+ artists)3737.
• +1
• Kiyoshi Monjugawa: Salon Blanc Executive Committee Chairman + Japan Artists Association member; stringing together the institutional and review levels of NAU and Japan-France platforms38.
• Maho Laplante: Art Students League of New York Scholarship + Paris, Tokyo exhibition history; connecting NAU with the US—France education and exhibition chain39.
• Akiko SIACCA: Ginza Gallery President + Contemporary Artist; coupling NAU with the Ginza gallery management network40.

IV. The "Resonance" between the Gallery Belt (Ginza-Kyobashi) and NAU

1. Gallery Hinoki (Kyobashi) as a Typical Hub

Many NAU exhibitors have held solo/selection exhibitions at Hinoki for many years (e.g., Taimaru Suemoto, Junko Kanemaru, Fuka Kanda, Tokyo Takashi, Yuji Hashiya, Masaya Iwasaki, Kengo Watanabe, etc.)414141.

Hinoki's curatorial rhythm often resonates before and after the NAU annual exhibition period, forming a dual-track node of "The National Art Center, Tokyo (Joint Exhibition) ↔ Ginza-Kyobashi (Solo/Duo Exhibition)".+2

2. K’s Gallery (Ginza)—Annual Solo Exhibition Habit

The stable solo exhibition rhythm of Makiko Tonuma, Hitoshi Suzuki, Ryoko Fukao, Natsuko Hamada at K’s Gallery allows NAU artists to accumulate "continuity of artistic vocabulary" and "familiarity with the collector community" within the same gallery network42.

3. Shirota Gallery (Ginza)—Connecting Modern to Contemporary

Long-term interaction of Michiko Uesugi, Natsuko Hamada, Akiko SIACCA, etc., with Shirota contrasts "Ginza's traditional gallery operation methods" with "NAU's contemporary practice"43.

4. ACT (Artcomplex Center of Tokyo)—Emerging and Competition Oriented

The exhibition and grand prize mechanisms of woga, YU-KI, Kengo Watanabe, etc., at ACT release an upgrade path of new blood flow (Competition—Joint Exhibition—Solo Exhibition—The National Art Center, Tokyo) for the NAU community444444.+2

V. Academic Sphere—Mutual Amplification of Mentorship Lineages and Exhibition Actions

1) Tokyo University of the Arts (Art Research, Oil Painting, Printmaking)

• Nobuhito Udagawa (Master's in Art Research, Professor Emeritus at Kyushu Sangyo University): Academic duties + International exchange (Visiting at U. Penn), connecting NAU with "Academic Review—International Exhibition Affairs"45.
• Akira Shiomi (Oil Painting Dept; Art Director of MMG Printmaking Workshop): Forming a bridge of "Technical Resources—Exhibition Resources" between the academic technical side (printmaking workshop) and galleries (Kaneko Art Gallery)46.
• Hiroyuki Tajima (Tokyo Geidai Oil Painting—Printmaking Lab): Dual tracks in printmaking and oil painting, providing a case study for NAU's "multi-media coexistence"47.

2) Tama Art University / Musashino Art University—Academic Twin Peaks of the Metropolitan Area

• Akiko SIACCA, HIROMI TOMINAGA, Saka Mitsuhiro, Kobayashi Tetsuro, Rie Tabata, Mana Yamane, etc., closely connect NAU with the "Academic Reproduction Mechanism" through mentorships, alumni exhibitions, and graduate school systems of the two major metropolitan art school systems48484848.
• +1
• Rie Tabata: Doctor of Education + Cross-disciplinary mentorship in calligraphy and abstraction (Seikaku Yonejima, Takuyoshi Kaneko / Steven Cushner), providing a demonstration path for "East-West Media Language Fusion"49494949.
• +1

3) Kyoto School (Kyoto University of the Arts / Kyoto University of Art and Design)—Regional Contemporary Vocabulary

• Akane Asano, Shozo, Aretokorekoko, etc., form a cross-regional gravitational pull of "Regional Art Scene—The National Art Center, Tokyo" between Kyoto-style training and gallery actions (Kyoto Dohjidai, etc.)505050.
• +2

4) Aichi / Osaka School—Reinforcement of Chubu and Kansai

• Rintaro Sekino (Osaka University of Arts Doctoral Program; Shell Art Award Student Special Prize; Art Gate Program Collection), etc., linking paths to corporate collections, auctions, and art fairs (ART OSAKA)51.
• Tomoko Hariya (Seto Ceramics major): Connecting the ceramic workshop system with London and Paris solo exhibitions52.

5) Overseas Academics and Exchange

• Hyun-suk Ryu (Hongik University / Paris La Grande Chaumière): Korea—France—Japan triangular network53.
• HOLEE (Ewha Womans University Western Painting): Crossing lines between the National Museum of Modern and Contemporary Art, Seoul, the French Cultural Center, and Japanese exhibition affairs; directly connecting NAU with Korean institutions54.
• Maho Laplante (Art Students League of New York): US educational resources + interlinked art exhibitions in Tokyo and Paris55.

VI. Media Communities and Cross-Disciplinary Connection

Calligraphy / Ink (Modern Calligraphy)

• Hotan Ishii (Avant-garde Calligrapher; Mainichi Calligraphy Exhibition Judge): Transforming the brush-and-ink aesthetics of "Kanji Calligraphy" into transnational abstract visuals; exporting the modernity of Japanese ink culture to the international stage through exhibition experiences in Italy, Germany, and France56.
• Sawako Watanabe (Bokujin-kai member; Former NAU President): The organizational hub of post-war modern calligraphy sources and NAU, linking the Kyoto—Tokyo ink art circles57.
• Hosui (Bokujin-kai, Bokujin Award): The "Brush and Ink Renewal" of Kyoto Bokujin tradition and NAU contemporary joint exhibitions58.
• Michiyo Yanagiya, Sachiko Yamazaki: Connecting gallery duo exhibitions and regional group exhibitions with brush-and-ink linear aesthetics, forming a "Small Exhibition—Large Exhibition" stepped path5959.
• +1
• Michiko Hamasaki (Calligraphy Dept; Director of Yokohama Museum of Ink): Transnational connection of Calligraphy Museum—Ginza—Overseas cities (Paris, Cannes, London, Warsaw, Spain)60.
• Kazuko Hayashi (BKS Member; Kaleidoscope Art mentorship): Connecting calligraphy, craft aesthetics, and public space display via a "media expansion" interface61.

Fiber / Craft

• Kiyoko Ogino, Naoe Okamoto, Mayumi Kuwayama: Joining "Lifestyle Aesthetics—Contemporary Vocabulary" from university group exhibitions (Yokinami Exhibition) to Taiwan-Japan exchange exhibitions, and then to Milan Design Week, art festivals, and art spaces in large commercial facilities (Takashimaya, Art Galleries)626262.
• +2
• Tomoko Hariya (Seto Ceramics): Connecting ceramic mentorship with London and Paris solo exhibitions, highlighting "Workshop—Gallery—Internationalization"63.

Printmaking / Oil Painting / Abstraction

• Akira Shiomi (Director of Printmaking Workshop): Technical resource center; exhibitions with Kosugi Gallery and Kaneko Art Gallery64.
• Hiroyuki Tajima (Printmaking Lab): Dual-wielding oil painting and printmaking; exhibition practices at Keio Print Salon, Chikyu-do, KINGYO, etc.65.
• Junko Kanemaru, Kazuyuki Nihira, Toshiyo Sato, Kei Shibatani: Aggregating through galleries like Hinoki, AND LINKS 81, Yamate (Yokohama) within abstract vocabulary, forming an "Abstract Community—Ginza Belt"66666666666666.
• +3

Photography / Video

• Tokyo Takashi: International photography competitions such as PX3, IPA, FAPA, London International Creative Competition, Budapest International Foto Awards; connecting NAU with global photography platforms67.
• Masami Nomura: Shaping "Liveness—Abstraction" video aesthetics through cross-media actions of Music—Painting—Live Painting68.
• YU-KI: Photo Communication® Association; exhibitions at Tokyo Daikanyama Space K, RDECO, etc., connecting the photography community with Ginza galleries69.

VII. Prototypes of Transnational Paths

• Paris Axis: Salon Blanc (French Embassy Prize) — Galerie Métanoïa — Espace Sorbonne 4 — La Grande Chaumière (Education)7070707070.
• +2
• New York Axis: The Nippon Gallery / The Nippon Club — Lincoln Center Cork Gallery — Watercolor system of Emerson Umbrella (YUKIKO) — US Jury Scholarship (Maho Laplante)71717171.
• +3
• Seoul Axis: National Museum of Modern and Contemporary Art—French Cultural Center—Multiple Museums (HOLEE, Hyun-suk Ryu)7272.
• +1
• Milan / European Design Week Axis: Mayumi Kuwayama (MILANO GENIUS), M.A.D.S. (Milan, Italy) 7373.
• +1
• Eastern Europe—Central Europe Axis: Masaki Okayama (National Museum in Kraków, Poland; Centre for Contemporary Art Ujazdowski Castle, Warsaw collections)74.
• Hokuriku—Toyama—Hokkaido Regional Axis: Junko Sugano (Toyama exchange) / Aki Guarino (Toyama residency and Etchu Art Festa) / Etsuko Fukue (Hokkaido Art Association—Sapporo, Otaru exhibition affairs)757575.
• +2

VIII. Advanced Insights

• NAU is a structured hub for "Group Exhibition—Solo Exhibition—Academia—Overseas": Through the annual exhibition period at The National Art Center, Tokyo, and the solo exhibition rhythm of the Ginza-Kyobashi gallery belt, it forms "continuity" of artistic vocabulary and "predictability" for audience and collector communities.
• Bridge-type artists determine the extension radius of the network: Kuniko Aoki (French awards), Hiroko Kuboki (Taiheiyo Art Society), Sawako Watanabe (Bokujin-kai), Mayumi Kuwayama (Gutai x Milan), Hyun-suk Ryu/HOLEE (Korea x Paris), and Wang Muti (Taiwan x GENZAN x Media x Database), etc., significantly expand NAU's transnational tentacles.
• Academic systems provide "reproduction" of methods and languages: Tokyo Geidai / Tama / Musashino / Joshibi / Kyoto School / Osaka Geidai etc., allow media and methodologies to be continuously updated at the exhibition site; mentorship chains and workshop systems (such as MMG Printmaking Workshop, OBARA Art Institute) are stable supports for technical resources.
• The intersection of media communities is the future direction: The cross-languages of Calligraphy—Abstraction, Fiber—Gutai, Printmaking—Oil Painting, Photography—Installation are more easily identified and resonated with on overseas platforms, forming expandable narratives.

【IV. Prologue: The Foundations】

2. Toshiaki Takahashi

• Academic Positioning:NAU President / Educator of Spatial Composition 76
• Career Summary: Tokyo Gakugei University Graduate School Painting Laboratory / Taro Okamoto Award for Contemporary Art Exhibition77.
• [Academic Critique]:
• As the helmsman of NAU, Toshiaki Takahashi's work embodies the "rationality" and "structure" unique to the Tokyo Gakugei University lineage. His paintings transcend mere flat decoration, demonstrating an architectural consciousness of spatial composition. He excels at using Color Progression and geometric segmentation to construct deep 3D fields in installation art. His work is not only a visual enjoyment but also a serious academic response to the topic of "how to intervene in space"78.

3. Yuji Hashiya

• Academic Positioning:Integration of Scientific Rationality and Abstract Aesthetics 79
• Career Summary: NAU Secretary General / Nagoya University (Member of Nobel Prize winner Isamu Akasaki's Lab)80.
• [Academic Critique]:
• Yuji Hashiya is a rare "scientist artist" in the contemporary art world. His research background in a Nobel Prize-winning physics team grants his abstract paintings a unique "Algorithmic Aesthetics." His lines and color blocks do not stem from emotional catharsis but follow some internal cosmic order, like crystal structures or circuit matrices. He is the representative of the "Rational Eye" in the NAU exhibition81.

4. Yoko Mitsuyuki

• Academic Positioning:Academic Matriarch of the Kyushu Art Scene 82
• Career Summary: Professor Emeritus, Kyushu Sangyo University / Deputy Representative, Asian International Art Exhibition83.
• [Academic Critique]:
• Holding the exalted academic title of "Professor Emeritus," Yoko Mitsuyuki represents the orthodoxy and heritage of the Japanese Western painting world. Her work demonstrates master-level control—colors are heavy but not stagnant, compositions are grand yet rich in detail. As a leader in art education in the Kyushu region, her paintings reveal deep humanistic care and historical undertones, stabilizing the academic center of gravity of the exhibition84.

5. Nobuhito Udagawa

• Academic Positioning:Local Deepening under International Vision 85
• Career Summary: Professor Emeritus, Kyushu Sangyo University / Director, Fukuoka City Art League / Visiting Scholar, University of Pennsylvania86.
• [Academic Critique]:
• Nobuhito Udagawa's artistic practice crosses the boundaries of East and West. As an administrative core and educator in the Fukuoka art world, his work blends the solid foundation of Japanese Western painting with the compositional logic of Euro-American contemporary art. He is an important pillar for NAU's promotion of the AAN (Asian Artists Network), and his work itself is a medium for cross-cultural communication87.

6. Hiroko Kuboki

• Academic Positioning:Guardian of Century-old Western Painting History 88
• Career Summary: Operating Committee Member, Taiheiyo Art Society / Salon Blanc Exhibitor89.
• [Academic Critique]:
• The Taiheiyo Art Society is Japan's oldest Western painting group (founded in the Meiji era). As its operating committee member, Hiroko Kuboki carries the historical weight of a century of Japanese Western painting. Her work adheres to the "Painterliness" of traditional oil painting, emphasizing the temperature of brushstrokes and the texture of pigments, displaying a classical resilience that transcends trends90.

【Chapter I】 Dialectics of Ink: Space, Gesture, and Deconstruction

Dialectics of Ink: Space, Gesture, and Deconstruction

[Curator's Guide]

This chapter explores the dual paths of "Ink" in contemporary art: one end is Japanese avant-garde calligraphy's "stripping of textual meaning" and "spatial explosion"; the other is Taiwanese contemporary Han ink's "modernization of literati spirit" and "continuity of Qi-Rhyme (cosmic consonance)"91.

【Section 1: Dialogue of the Matriarchs】

7. Sawako Watanabe

• Academic Positioning:Avant-garde Calligraphy Orthodoxy / Cutter of Space 92
• Career Summary: Former NAU President / Bokujin-kai Member / Studied under Nankoku Hidai, Shiryu Morita93.
• [Academic Critique]:
• Sawako Watanabe is a living witness to post-war Japanese avant-garde art history. As a direct descendant of "Bokujin-kai," the core of her creation lies in "Brush Erosion"—the traces of life left after the brush tip fiercely rubs against paper fibers. In her work, the form of Kanji has been thoroughly deconstructed, transformed into pure blocks of black and white energy. Her treatment of space has extreme aggressiveness and architectural sense; ink traces are like lightning striking in the void. This is not static writing, but "Solidified Time" after an instantaneous burst of bodily energy94.

8. LIEN Jui-Fen

• Academic Positioning:Taiwan Calligraphy Leader / Modern Literati Qi-Rhyme 95
• Career Summary: Chairperson, Taiwan Women Calligraphers Association / Chairperson, Danlu Cultural and Educational Foundation96.
• [Academic Critique]:
• If Japanese calligraphy pursues instantaneous explosion, Lien Jui-Fen exhibits "Temporal Duration." As an important leader in the Taiwan calligraphy scene, Lien Jui-Fen has deeply mastered the essence of "Calligraphy Zen" from the Cao Qiu-pu lineage (Danlu); her lines are vigorous and elastic. However, she does not stop at traditional vertical scrolls but boldly introduces the "All-over Composition" and "Aesthetics of Blank Space" of modern painting into calligraphy. Her work demonstrates a unique "Unifying Power"—containing rigorous structural order within seemingly free-spirited running-cursive lines, a perfect fusion of classical cultivation and modern visual language97.

【Section 2: Structure, Dimension & Experiment】

9. Hotan Ishii

• Academic Positioning:3D Calligraphy / Internationalized Writing Language 98
• Career Summary: Mainichi Calligraphy Exhibition Judge / Active in Italy, Germany, France99.
• [Academic Critique]:
• Hotan Ishii is dedicated to solving a core problem: How to move Western audiences who do not read Kanji with calligraphy? His answer is "Dimensionalization" and "Architecturalization." He views calligraphy lines as beams and columns of architecture, constructing 3D spatial depth on 2D paper. His works have a strong sculptural sense and are a successful model of calligraphy moving towards global contemporary art100.

10. WANG-CHUAN FU

• Academic Positioning:Materiality Experiment of Ink / Academic Newcomer 101
• Career Summary: MFA, Taipei National University of the Arts (TNUA)102.
• [Academic Critique]:
• Wang-Chuan Fu represents the innovative perspective on ink by the young academic generation in Taiwan. He views water and ink as "Material" equal to acrylics and oil paints, rather than just writing tools. He piles, washes, and creates textures on the surface, blurring the boundary between "Calligraphy" and "Painting," exhibiting a visual tension with experimental nature103.

11. CHEN FU-CHI

• Academic Positioning:Crossover of Image and Ink Phenomenon / Writing with the Eye of Photography 104
• Career Summary: President, Taiwan Native Photography Association / President, Wide Angle Photography Association105.
• [Academic Critique]:
• As an important leader in Taiwan's photography world, Chen Fu-Chi is exhibiting "Modern Calligraphy" as a crossover. His writing carries strong image logic: his layout of Kanji structures is like "Framing" and "Composition" in photography, extremely particular about spatial cutting and the contrast between void and solid. This is a unique practice of "moving the brush with the shutter's eye," proving the high interoperability of visual art principles106.

12. Michiko Hamasaki

• Academic Positioning:Cultural Translator of Ink 107
• Career Summary: Director, Yokohama Museum of Ink108.
• [Academic Critique]:
• Michiko Hamasaki's work possesses an elegant "Fluidity." She knows deeply how to translate Eastern "Linear Aesthetics" for the Western world. Her creation focuses on the rich variations within a single stroke—from the scorching of thick ink to the haloing of pale ink, revealing a microcosmic universe where water and ink blend on paper109.

13. Hosui

• Academic Positioning:Osmology of Paper and Ink 110
• Career Summary: Member of Bokujin-kai111.
• [Academic Critique]:
• As a member of Bokujin-kai, Hosui focuses on the process of "Osmosis." The work presents how ink slowly erodes and blooms into the paper fibers over time. This is an extremely introspective creation, inviting the audience to experience a quiet Eastern meditation112.

14. Chun-Yi Liau

• Academic Positioning:Modern Literati Painting of Confucian Doctor Tradition / Healing Ink 113
• Career Summary: PhD, Chung Shan Medical University / Active in International Calligraphy and Painting Exhibitions114.
• [Academic Critique]:
• Chun-Yi Liau continues the "Confucian Doctor" tradition, choosing figurative "Ink Painting" as a medium for self-cultivation. Between the brush and ink flows the benevolence and peace unique to a healer. He does not pursue strange compositions but constructs landscape imagery full of humanistic breath through the gradations of ink, providing a classical and stabilizing force in the exhibition hall115.

15. Jinling Jiang

• Academic Positioning:Fusion of Gouache and Ink 116
• Career Summary: Major in Gouache Painting, Tunghai University / Studied under Chiang I-Han117.
• [Academic Critique]:
• Jinling Jiang's work integrates the agility of Taiwanese ink with the heaviness of Japanese Gouache (Mineral Pigment). With the background of studying under modern ink master Chiang I-Han, her work adds a shimmering texture of mineral pigments and color layers beyond the charm of ink, displaying a modern literati style that transcends media118.

16. Michiyo Yanagiya

• Academic Positioning:Musicality of Lines 119
• Career Summary: Contemporary Ink and Writing120.
• [Academic Critique]:
• Yanagiya's work emphasizes the rhythm and musicality of lines. She breaks the structural constraints of Kanji, letting lines dance freely in space. Her works often carry a light rhythm, like a solidified musical melody, displaying the pure formal beauty of contemporary writing after shedding its semantic function121.

17. Koho Kurihara

• Academic Positioning:Calligraphy Diplomat 122
• Career Summary: JIAS Member / Belgium-Netherlands Art Award Exhibition Excellence Award123.
• [Academic Critique]:
• Committed to the "Internationalization" of calligraphy. Kurihara knows how to adjust the visual language of brush and ink to transcend the semantic barriers of text, transforming it into abstract line art understandable to Western audiences, a highly communicative modern calligraphic art124.

18. Ikko Inoue

• Academic Positioning:Artistic Transformation of Philology 125
• Career Summary: Director, Jito Character Research Institute / Fukuoka Culture Award126.
• [Academic Critique]:
• Ikko Inoue is not only a calligrapher but also a philologist. He restores "Oracle Bone Script/Bronze Script" to primitive magical symbols; his work possesses strong pictographic nature and mystery, a "Scholar's Calligraphy" of extreme academic depth127.

19. Izan Ogawa

• Academic Positioning:Performance Calligraphy and Expression Education 128
• Career Summary: Peninsula Hotel Collection129.
• [Academic Critique]:
• Izan Ogawa defines calligraphy as "Expression Education" and "Performance Art." His work emphasizes the performative nature and bodily intervention during the writing process, attempting to radiate the energy of calligraphy into public space, with majestic momentum130.

20. Ryokka Yoshihara

• Academic Positioning:Eclectic Japanese-Western Calligraphy and Painting 131
• Career Summary: Japan-France Modern Art World Exhibition Excellence Award132.
• [Academic Critique]:
• Ryokka Yoshihara successfully harmonizes Eastern brush lines with Western color composition on canvas, creating a cross-cultural visual language and displaying the aesthetic height of "Japanese-Western Eclecticism"133.

21. Rie Tabata

• Academic Positioning:Unity of Theory and Practice 134
• Career Summary: Doctor of Education135.
• [Academic Critique]:
• Combining Eastern calligraphy and American abstract painting, Rie Tabata's work is the practice of her aesthetic theory, conducting rational East-West fusion on canvas, demonstrating the rigor and cross-cultural vision of an academic researcher136.

【Chapter II】 The Materiality of Painting: From Impasto Passion to Rational Abstraction

The Materiality of Painting: From Impasto Passion to Rational Abstraction

[Curator's Guide]

In the contemporary era flooded with Screen Images, what is the ontological significance of painting? NAU's answer is: "The Restoration of Materiality"137.

This chapter presents two extremes of painting as a material practice. One end is the "Expressionist Lineage" inheriting Japanese Western painting history, emphasizing Fauvist color explosions and bodily brushstrokes; the other end is the "Rational Abstraction Lineage" active in Tokyo contemporary galleries, emphasizing the accumulation of time, physical thickness of pigment, and calm construction of geometric structures138.

【Section 1: Passion & Life —— The Expressionist Lineage】

22. Hiromi Tsuten Sakurai

• Academic Positioning:The Flame of Japanese Fauvism / Haptic Visuality 139
• Career Summary: Independent Art Association Associate Member / Studied under Kanjiro Ikeshima140.
• [Academic Critique]:
• Since its founding in the 1930s, the "Independent Art Association" has been the bastion of Japanese "Fauvism." Hiromi Tsuten Sakurai's work perfectly inherits this bloodline. She rejects naturalistic reproduction of color, pursuing instead the "Emotional Truth" of color. On her canvas, paint is not applied flatly but piled up and impacted. Those burning reds and deep blacks constitute a strong visual contrast. This "Impasto" grants the image powerful sculptural sense, as if to break through the limitations of the 2D plane, striking the viewer's retina directly and evoking a "Haptic Visuality"141.

23. Noriko Isozaki

• Academic Positioning:Weaver of Light and Color / Visual Pleasure 142
• Career Summary: Ichiyo-kai Painting Department Committee Member / Joshibi University of Art and Design / Ichiyo Prize143.
• [Academic Critique]:
• Noriko Isozaki's work demonstrates the aesthetic tradition unique to "Ichiyo-kai"—the ultimate pursuit of harmony between light, shadow, and color. She excels at using fragmented brushstrokes to weave countless tones into a flowing spectrum, like the Impressionist capture of light, but with more modern decorativeness. Her images often overflow with a warm "Visual Pleasure," without abstruse conceptual preaching, only pure color rhythmically moving in space, an antidote to contemporary indifference and alienation144.

24. Kazuyuki Nihira

• Academic Positioning:Geology of Time / Material Accumulation 145
• Career Summary: NAU Full Member / Gallery Hinoki Annual Selection Exhibition146.
• [Academic Critique]:
• Kazuyuki Nihira's painting is a physical presentation of "time." He does not depict figurations on canvas but performs endless piling and scraping of pigment. Viewing his work up close reveals a surface full of textures and cracks like geological faults. This "Materiality" is the most powerful weapon against the flattening of digital images, inviting the viewer to engage in an archaeological gaze147.

25. Junko Kanemaru

• Academic Positioning:Translation of Inner Landscapes 148
• Career Summary: NAU Full Member / Regular at The National Art Center, Tokyo149.
• [Academic Critique]:
• Junko Kanemaru's creation has long focused on "Inner Landscapes" and "Rhythm of Light and Shadow." She is a representative figure in the contemporary Japanese abstract art scene who can elegantly combine materiality and spirituality. Her works exhibited at The National Art Center, Tokyo, often trigger deep resonance in viewers with delicate color layers, displaying extremely high visual completion and poetic atmosphere150.

26. Tetsuro Kobayashi

• Academic Positioning:Social Expressionism 151
• Career Summary: Musashino Art University / Dokuritsu Bijutsu / JAALA International Exchange Exhibition152.
• [Academic Critique]:
• Tetsuro Kobayashi's brushstrokes carry a coarse primitive power. Combined with his JAALA (Japan Asia Africa Latin America Solidarity) background, his works often imply concern for social reality or the human condition. He does not embellish the roughness of his strokes; this "Non-finito" (unfinished quality) instead enhances the authenticity and force of the image, a practice of painting as a tool for social voice153.

27. Maho Laplante

• Academic Positioning:Direct Descendant of the New York School / Action Painting 154
• Career Summary: Art Students League of New York Scholarship / Lincoln Center Exhibition155.
• [Academic Critique]:
• Maho Laplante’s work brings viewers back to the golden age of New York Abstract Expressionism.
  Her paintings emphasize “action,” with the canvas serving as a field that records the movements of her body.
  The drips, splashes, and scratches of paint preserve the sense of speed and chance present at the very moment of creation.
  This distinctly American spirit of freedom and exuberance forms a compelling contrast with the reserved aesthetics of traditional Japanese art.

28. Ryoko Fukao

• Academic Positioning:Layers of Mental Landscapes 157
• Career Summary: Joshibi University of Art and Design / Ibaraki Prefectural Exhibition Special Prize / Shinsho Exhibition Association Prize158.
• [Academic Critique]:
• Ryoko Fukao is a powerhouse from Joshibi University of Art and Design. Her work displays the sensibility and resilience unique to female artists. Rich in color layers, she excels at capturing fleeting changes of light and shadow in nature and transforming them into inner mental landscapes. Her award history at "Shinsho Exhibition" proves her modeling ability to navigate effortlessly between figurative and semi-abstract159.

29. Okiko Toyosaki

• Academic Positioning:Purity of Painting 160
• Career Summary: Member of Japan Artists Association / Solo Exhibition at Ginza O Gallery161.
• [Academic Critique]:
• Okiko Toyosaki is active in spaces like Ginza O Gallery that value "Painterliness." Her work does not rely on spectacle but returns to the basic elements of painting—balance of color, composition, and brushstroke. Her paintings often carry layers of accumulated thickness, displaying the solid foundation of mid-career Japanese painters and persistence in the ontology of painting162.

【Section 2: Reason & Sediment —— The Material Abstraction Lineage】

30. Hiroshi Wada

• Academic Positioning:Geometric Order of the City / Cold Abstraction 163
• Career Summary: Active at Gallery Hinoki / Contemporary Artist164.
• [Academic Critique]:
• Hiroshi Wada's work is an abstraction of modern urban experience. He utilizes horizontal and vertical lines to construct a rigorous "Grid System." This calm geometric composition eliminates superfluous emotional release, leaving only pure structure and order. His paintings are like blueprints of modernist architecture, displaying the intellectual beauty of "Cool Abstraction," a projection of scientific thinking onto art165.

31. Noboru Taira

• Academic Positioning:Organic Forms of the Microscopic World 166
• Career Summary: Collected by The National Art Center, Tokyo / Ginza Kobayashi Gallery167.
• [Academic Critique]:
• Noboru Taira is a powerhouse painter receiving attention from the National Art Center system. The feature of his work lies in extremely high completion and a delicate microscopic perspective. He often creates a bewildering sense of space on the canvas, with rich and subtle color layers, as if exploring the cellular structures of organic beings or cosmic nebulas. The quiet temperament of his work gives it extremely high collection value, belonging to the "enduring" class of classic contemporary painting168.

32. HOLEE

• Academic Positioning:Spirituality of Dansaekhwa / Korean-French Hybrid Aesthetics 169
• Career Summary: Ewha Womans University (Korea) / La Grande Chaumière (France) / Solo Exhibition at The National Art Center, Tokyo170.
• [Academic Critique]:
• HOLEE's work is a contemporary continuation of the spirit of Korean "Dansaekhwa" (Monochrome Painting). She achieves a state of asceticism through the repetitive application of a single color. However, her background studying in France gives her a more layered sense of color, not as austere as traditional monochrome painting, but carrying the poetry of lyrical abstraction. Her work provides a quiet "Breathing Space" in the exhibition hall, allowing the audience's vision to rest amidst the noise171.

33. Natsuko Hamada

• Academic Positioning:Inheritor of Lyrical Abstraction 172
• Career Summary: Tokyo University of the Arts (Studied under Kazu Wakita) / Tsubaki Modern Gallery173.
• [Academic Critique]:
• Natsuko Hamada studied under lyrical abstraction master Kazu Wakita, inheriting that warmth and poetry. Her color usage is soft and musical, demonstrating the deep color cultivation of the Oil Painting Department at Tokyo Geidai. The blurred boundaries and haloing in the image are like afterimages of memory, evoking nostalgia for lost time in the viewer174.

34. Yoko Kozai

• Academic Positioning:Cross-disciplinary Dialogue of Contemporary Art 175
• Career Summary: Active in Roppongi Art Circle / Gallery Hinoki176.
• [Academic Critique]:
• Yoko Kozai has long promoted cross-disciplinary dialogue in contemporary art. Her work forms are flexible, not adhering to a single style, focusing on the rhythm of color, form, and composition. In exhibitions at Gallery Hinoki, she displays a delicate and introspective visual language, emphasizing the perceptual resonance between viewer and work177.

35. Fuka Kanda

• Academic Positioning:Exploration of Linear Aesthetics 178
• Career Summary: Calligraphy Education Society background / Exhibited at The National Art Center, Tokyo179.
• [Academic Critique]:
• Although Fuka Kanda's background originates in calligraphy, her work has transformed into pure contemporary abstraction. She focuses on the expressive power of "lines" in space, exploring how calligraphic lines can detach from text to become independent visual elements. Her work receives attention from cross-cultural critics for its unique "Linear Aesthetics"180.

36. Kumiko Arakawa

• Academic Positioning:Layers of Printmaking Thinking 181
• Career Summary: Tokyo Zokei University Printmaking Course / Gallery Hinoki182.
• [Academic Critique]:
• Arakawa's work carries the "Layering" thinking unique to printmaking. Even in painting works, she uses stacking and scraping techniques to create a texture of "Indirectness" like printmaking. Her experience in Japan-Korea exchange art exhibitions shows her work's maturity in abstract composition and international vision183.

【Section 3: Inner Landscapes & Narrative】

37. Toshiyo Sato

• Academic Positioning:Poetry of Microscopic Perception 184
• Career Summary: Contemporary Artist / Contemplative Temperament185.
• [Academic Critique]:
• Toshiyo Sato's work focuses on daily perception and layers of time. She presents a quiet, contemplative temperament with delicate and restrained visual vocabulary. In the clamor of contemporary art, her work is like a short poem, reminding the audience to pay attention to minute existence186.

38. Akiko Konno

• Academic Positioning:Capture of Memory Afterimages 187
• Career Summary: Contemporary Female Artist / Presence and Memory188.
• [Academic Critique]:
• Akiko Konno's creation revolves around "Presence" and "Afterimages of Memory." With a perspective unique to women, she captures fragments ignored in daily life. The images often carry a hazy beauty, as if trying to retain moments about to disappear189.

39. Shigetada Okada

• Academic Positioning:Modernity of Free Expression 190
• Career Summary: Contemporary Artist191.
• [Academic Critique]:
• Shigetada Okada's work breaks away from the constraints of traditional public exhibitions, leaning towards free expression. He may combine abstract painting with collage techniques, exploring the relationship between matter and picture space, demonstrating the modern artist's free exploration of form192.

40. Kazuki Chikyo

• Academic Positioning:Boundary between Abstraction and Figuration 193
• Career Summary: Contemporary Artist194.
• [Academic Critique]:
• Kazuki Chikyo's creation wanders between figurative symbols and abstract backgrounds. He attempts to establish a new order on the canvas, guiding the audience into a surreal visual experience through the deconstruction and reorganization of form, enriching the visual spectrum of the NAU exhibition195.

41. Maki Chisaka

• Academic Positioning:Weaving of Sensible Color Fields 196
• Career Summary: Contemporary Artist197.
• [Academic Critique]:
• Maki Chisaka has a unique personal vocabulary in color usage. She tends to use soft or strongly contrasting color fields to construct images, exploring the subtle fluctuations of personal emotion in contemporary life, demonstrating the persistence of the "Painterliness" of the mid-level contemporary art scene198.

42. Sachiko Yamazaki

• Academic Positioning:Abstraction of Modern Ink 199
• Career Summary: Studied under Yuzan Ihara / Solo Exhibition at Fukuoka Art Museum200.
• [Academic Critique]:
• Although Sachiko Yamazaki inherits modern ink painting, her work has transcended traditional categories, moving towards abstraction. Her multiple solo exhibition experiences at the Fukuoka Art Museum show her profound skill in handling black and white void/solid and spatial white space, demonstrating the modern transformation of the ink spirit201.

【Chapter III】 Material Transgression: Craft as Spatial Sculpture

Material Transgression: Craft as Spatial Sculpture

[Curator's Guide]

In Japanese art history, "Kogei (Craft)" has long been seen as an appendage to practical function. However, the 24th NAU Exhibition declares the "Transgression" of craft202.

The artists in this chapter no longer make items for desktop appreciation but view clay, silk threads, and metal as weapons to wrestle with space. They strip away the "utility" of the material and release its "conceptuality." From Tomoko Tsuda's awakening of the primitive power of earth to Hakuran Nakamura's deconstruction of sumo rituals, these works prove that: in the digital virtual age, only the weight and touch of matter can awaken human dormant senses203.

【Section 1: Architecture of Clay —— Contemporary Ceramic Installation】

43. Tomoko Tsuda

• Academic Positioning:Spatial Sculptor / Resistance of Matter 204
• Career Summary: NAU Member / Contemporary Artist / Active in Contemporary Ceramic Installation205.
• [Academic Critique]:
• Tomoko Tsuda completely subverts the traditional definition of ceramics as "craft vessels." For her, clay is a weapon to wrestle with space. She utilizes the shrinkage, cracks, and collapse after firing to display the most primitive violence and vitality of matter. In the high-ceilinged space of The National Art Center, Tokyo, her works often present an architectural sense like ancient ruins or geological structures. She lets the clay retain its own weight and rough texture; this material "resistance" forces the audience not just to scan with eyes, but to perceive the oppressive power of the work in space with their bodies. She is an important practitioner elevating "Craft" to "Spatial Art"206.

44. Lee, Jia-Ling

• Academic Positioning:Crossover of Ceramics, Acrylics & Industry 207
• Career Summary: Chairperson, Huang Mo Yi Art / National Student Art Exhibition Excellent Work Award208.
• [Academic Critique]:

• Lee, Jia-Ling’s work demonstrates a free crossing of material boundaries. She is not satisfied with a single form, instead combining the three-dimensional shapes of ceramics with the contemporary colors of acrylic paint. Li chooses to directly intervene in her creations using acrylics, which gives her pieces a stronger painterly quality and more saturated colors.

  As the Chairperson of Huang Mo Yi Art, her vision extends beyond creation to the industrial application of art. At the NAU exhibition, her works present an attempt to abstract contemporary art and give color a fashionable sensibility, showcasing how contemporary art can engage with both lifestyle aesthetics and commercial spaces.

45. Hajime Tajima

• Academic Positioning:Modern Turn of Living National Treasures / The Ultimate Glaze 210
• Career Summary: Studied under Akira Takeuchi (Lineage of Kenkichi Tomimoto, Yuzo Kondo) / Exhibited at The National Art Center, Tokyo211.
• [Academic Critique]:
• Behind Hajime Tajima stand the giants of Japanese ceramic history. Kenkichi Tomimoto (Overglaze Enamel) and Yuzo Kondo (Blue and White) are both Japanese "Living National Treasures," representing the peak of folk art and modern ceramics. Hajime Tajima inherits this orthodox bloodline but is not bound by tradition. His works are more concise and abstract in form, focusing on the subtle changes of glaze color during firing. His work displays a "Controlled Chance"—letting the glaze flow naturally under rigorous formal logic. This is the perfect combination of traditional craft techniques and modern formal aesthetics212.

46. Makiko Hattori

• Academic Positioning:Biomorphism / Magnification of the Microscopic World 213
• Career Summary: Founding member of ceramic design group "The Earth" / Tajimi City Art Exhibition Mayor's Award214.
• [Academic Critique]:
• Different from Tomoko Tsuda's architectural sense, Makiko Hattori's ceramics are "Biomorphic." Her works are like coral in the deep sea, spores under a microscope, or some unknown organic life form. She processes the surface texture of the clay extremely delicately, creating countless holes and protrusions. This obsession with complex details gives hard ceramics the illusion of being soft and breathing. Her work explores the rhythm of life growth, injecting organic vitality into the cold, hard museum space215.

47. Tomoko Hariya

• Academic Positioning:Internationalization of Seto Tradition 216
• Career Summary: Seto Ceramics Major / Studied under Shigeo Shiga / Solo Exhibitions in London, Paris217.
• [Academic Critique]:
• Born in "Seto," one of Japan's six ancient kilns, yet active in London, the center of contemporary art. Tomoko Hariya's work is a hybrid of two ceramic traditions. She retains Seto ware's exquisite glaze technology but absorbs the conceptuality and sculptural sense of European contemporary ceramics in form. She is a successful case of "International Translation" of Japanese traditional craft vocabulary218.

48. Mana Yamane

• Academic Positioning:Fusion of Folklore and Design 219
• Career Summary: Musashino Art University Craft & Industrial Design / Yokai Object Contest Winner220.
• [Academic Critique]:
• Mana Yamane brings "Design Thinking" into ceramics and combines it with Japan's deep "Folklore" foundation. Her participation in "Yokai" (monster/spirit) themed contests shows she excels at modernly transforming mythical symbols from traditional culture. Her works are not just objects but characters with narrative functions, demonstrating new possibilities for contemporary craft narrative221.

【Section 2: Deconstruction of Fiber —— Soft Sculpture】

49. Hakuran Nakamura

• Academic Positioning:Deconstructor of Cultural Symbols / Reorganization of Ritual 222
• Key Media: Silk threads of Sumo Kesho-mawashi223.
• [Academic Critique]:
• Hakuran Nakamura conducts a high-difficulty cultural experiment. She chose a medium with extreme Japanese cultural load—the rare silk threads of "Kesho-mawashi" (embroidered aprons) worn by sumo wrestlers in sacred rituals. She "Deconstructs" these textiles that originally symbolize power and class into countless free-floating threads, reweaving them in space into installations like cosmic fetal movement or neural networks. This is a process of sublimating "Figurative Ritual" into "Abstract Spirituality," the installation work with the most cultural impact in this exhibition224.

50. Naoe Okamoto

• Academic Positioning:Industrial Structure and Soft Sculpture 225
• Career Summary: Musashino Art University Master's / Former Nissan Car Designer / Antonio Ratti Award226.
• [Academic Critique]:
• 17 years of experience as a car designer have deeply influenced Naoe Okamoto's artistic vocabulary. She sees through the "Structure" of matter. Unlike the woven feel of traditional fiber art, her works are more like architectural models made of fiber. She utilizes the tension and elasticity of fibers to construct precise 3D grids. Winning the international textile award Antonio Ratti Award proves her international status in exploring the structural possibilities of "Soft Sculpture"227.

51. Mayumi Kuwayama

• Academic Positioning:Tech Crossover of Light and Fiber 228
• Career Summary: Osaka University of Arts / Milan Design Week (MILANO GENIUS) Award229.
• [Academic Critique]:
• Mayumi Kuwayama is a crossover artist of "Art" and "Tech." She not only uses fiber but also introduces "Light." Her installation works often use optical fibers or special reflective materials to create glowing virtual bodies in the dark. This creation blurs the boundaries of matter, turning fiber into a carrier of light. Her success at Milan Design Week shows her work possesses a strong sense of contemporary design and futurism230.

52. Kiyoko Ogino

• Academic Positioning:Planar Painterliness of Fiber 231
• Career Summary: Contemporary Fiber Artist / Taiwan-Japan Exchange Exhibition232.
• [Academic Critique]:
• Kiyoko Ogino views fiber as paint for painting. Affirming her place in abstract painting and planar art, she uses fiber texture differences (rough, smooth, tangled) to replace brushstrokes. Her works present a rich sense of layering visually, demonstrating the expressive power of fiber art in "Tableau" (wall-hanging) form233.

53. Mizuho Tanaka

• Academic Positioning:Modernity of Geometric Collage 234
• Career Summary: Quilt Japan Jury Award / Gifu Prefecture Governor's Award235.
• [Academic Critique]:
• Mizuho Tanaka elevates "Quilt" from handicraft to modern geometric art. She has extremely high sensitivity to the composition of color and shape, creating visual illusions and rhythmic sensations like "Op Art" through the splicing of fabrics. This is a warm rationalism236.

【Section 3: Alchemy & Cross-over】

54. Rie Domon

• Academic Positioning:Metal Painting / Ruins Aesthetics 237
• Career Summary: Mixed Media and Metal Carving / Taiwan-Japan Cultural Exchange Exhibition238.
• [Academic Critique]:
• Rie Domon is an "Alchemist" in the field of painting. She introduces "Corrosion" and "Forging" techniques from metal crafts into planar creation. Her canvas surface is full of mottled rust and metallic luster after chemical reactions, presenting a decadent aesthetic like "Industrial Decay." She successfully captures the process of material decay over time, endowing the image with a heavy sense of history239.

55. SHUICHI GOTOH

• Academic Positioning:Refraction of Gemology and Painting 240
• Career Summary: FAAP Art University, Brazil / Jewelry Designer / Colored Stone Expert241.
• [Academic Critique]:
• SHUICHI GOTOH's background is extremely special—combining the passion of Brazilian art education with the precision of jewelry design. He brings the perspective of "Gemology" into painting. His works capture the refracted light and crystal facets unique to gems, with vivid colors and South American uninhibitedness. This is a visual experiment crossing the boundaries of decorative art and fine art242.

56. Kazumi Kato

• Academic Positioning:Poetry of Metal 243
• Career Summary: Aichi Prefectural University of the Arts Graduate School / Metal Art Museum Exhibition244.
• [Academic Critique]:
• Kazumi Kato's works have footprints in over a hundred places worldwide, showing her metal art has cross-cultural infectiousness. She does not emphasize the hardness and coldness of metal, but rather excavates its flexibility and ductility. Works often present unexpected lightness, as if metal can be folded and shaped like paper or cloth, displaying superb craft skills and poetic transformation245.

57. Masamitsu Abe

• Academic Positioning:Material Dialogue of Washi 246
• Career Summary: Awa Washi Hall Award / Printmaker247.
• [Academic Critique]:
• Masamitsu Abe focuses on the combination of "Washi" (Japanese paper) and printmaking. Having won the Awa Washi Hall Award, he deeply understands the characteristics of paper fibers. His work is not just printed on paper, but lets ink penetrate into the paper's texture. This is a deep dialogue with material, demonstrating the delicate application of Japanese craft aesthetics in planar art248.

58. Masami Ozawa

• Academic Positioning:Authenticity of Material 249
• Career Summary: Handmade Washi Artist / Natural Materials250.
• [Academic Critique]:
• Masami Ozawa returns to the source of paper. Creating handmade paper using plant fibers like Kozo and Mitsumata. This is "Subtractive Aesthetics"; she does not impose excessive color, but lets the paper's own texture, thickness, and luster speak, echoing contemporary art's return to natural materials and environmental issues251.

【Chapter IV】 Future Horizons: Digital Sublime, The Body & Hybridity

Future Horizons: Digital Sublime, The Body & Hybridity

[Curator's Guide]

Where are the boundaries of art? After painting and craft explored the limits of "matter," this chapter will lead the audience into the realms of "immateriality" and "flux"252.

From Tokyo Takashi's gaze on digital landscapes to Gutai heir Shigeyoshi Yuzawa's performance art impacting space with his physical body, to Aretokorekoko's strange sculptures fusing subculture. Displayed here is the "Expanded Field" of 21st-century art—art is no longer just objects hanging on walls; it is optical illusions, instantaneous movements, and symbol reorganization crossing the virtual and real253.

【Section 1: The Digital Sublime & Imaging】

This section exhibits how photography and digital art capture the visual experience of contemporary society.

59. Tokyo Takashi

• Academic Positioning:Sublime Aesthetics of the Digital Age 254
• Career Summary: Prix de la Photographie Paris (PX3) / International Photography Awards (IPA) / London International Creative Competition Honorable Mention255.
• [Academic Critique]:
• Tokyo Takashi's work is a digital response to Kant's concept of the "Sublime." The cities and nature under his lens, after high-degree digital reconstruction and color enhancement, present a perfection and magnificence beyond what the naked eye can see. This high-saturation, surreal visual language accurately captures the characteristics of our era surrounded by screens and big data. His sweeping records in international competitions like PX3 and IPA prove his visual vocabulary has universal attraction across cultures, making him a benchmark figure in contemporary digital photography collection256.

60. YU-KI

• Academic Positioning:Photography Psychology / Relational Aesthetics 257
• Career Summary: Photo Communication® Association Master / PCA Award / M84 Award258.
• [Academic Critique]:
• Different from Tokyo Takashi's formal aesthetics, YU-KI views photography as a tool of "Relational Aesthetics." The core of his work lies not in precise composition but in establishing an emotional connection between viewer and subject through the lens. This is an image practice with warmth and psychological depth, reminding us of the communication and healing functions photography originally possessed in a cold technological age259.

61. Yuko Nishida

• Academic Positioning:Suspension of Time 260
• Career Summary: Contemporary Artist / Video and Planar Creation261.
• [Academic Critique]:
• Yuko Nishida's theme is "Suspension." In the age of accelerationism, she captures ignored static moments through video or painting. The works carry a faint sorrow and poetry, inviting the audience to slow down their sensory rhythm and engage in internal gaze262.

62. Senwa

• Academic Positioning:Dynamics of Landscape 263
• Career Summary: Contemporary Artist / NAU Regular Exhibitor264.
• [Academic Critique]:
• Senwa Sakamoto focuses on the "Dynamics of Landscape." He captures not static scenery but the flow of wind and the progression of light. His works are colorful and full of rhythm, with brushstrokes carrying speed, displaying a vivid modern landscape painting style265.

【Section 2: Echoes of History & The Body】

This section connects Japan's strongest post-war avant-garde movement "Gutai" with performance art.

63. Shigeyoshi Yuzawa

• Academic Positioning:Inheritor of Gutai Spirit / Action of Matter 266
• Career Summary: AU (Artists Union) / Participated in Shozo Shimamoto (Gutai Founder) Projects267.
• [Academic Critique]:
• Shigeyoshi Yuzawa is the umbilical cord connecting the 1950s Japanese avant-garde movement to the present. As a member of "AU," he directly inherits the spirit of "Gutai"—"Do not imitate others, create what has never existed before." His work lies not in depicting beautiful images but in presenting traces left by pigment and matter in instantaneous action. This is a living fossil of "Action Painting," emphasizing bodily intervention at the moment of creation268.

64. Jun Manjome

• Academic Positioning:Body Politics / Butoh Aesthetics 269
• Career Summary: International Film Festival Rotterdam / MHKA Museum (Antwerp)270.
• [Academic Critique]:
• Deeply influenced by the dark aesthetics of Japanese "Butoh," Jun Manjome transforms the body into a sculpture. His performance art or video works in the exhibition hall often explore the repression, distortion, and release of the body in social space. His presence gives the NAU exhibition "Liveness," transforming static display into dynamic ritual271.

65. Kozo Wada

• Academic Positioning:The Hard Bone of Kodo Art 272
• Career Summary: Kodo Exhibition (1977-1985) / Shinsho Exhibition / Passed away in 2025273.
• [Academic Critique]:
• As a veteran of the Kodo Bijutsu Association, Kozo Wada's posthumous exhibition is a tribute to a period of history. His works retain the rough, simple, and vitality-filled spirit of post-war Japanese art. His long-term cultivation in the Ginza gallery circle witnessed the changes in Japanese contemporary art. His paintings are the final testimony of that generation's persistence in "Painting Purity"274.

【Section 3: New Sculpture & Hybrid Aesthetics】

This section shows how the young generation combines subculture, street art, and traditional art.

66. Aretokorekoko

• Academic Positioning:Subculture Hybrid / New Wave of Contemporary Sculpture 275
• Career Summary: Kyoto City University of Arts / SICF23 Jury Award / Independent Tokyo Special Award276.
• [Academic Critique]:
• As an up-and-coming artist who won awards at gateways for young artists like SICF (Spiral Independent Creators Festival), Aretokorekoko represents the future of Japanese contemporary sculpture. His work mixes anime subculture, consumer society symbols, and traditional sculpture techniques, presenting a "Hybrid" strange beauty. This is precisely the Digital Natives' unique interpretation of the material world277.

67. Kengo Watanabe

• Academic Positioning:Pop Sensibility and Urban Symbols 278
• Career Summary: International Art Grand Prize Exhibition Runner-up / New York Nippon Gallery279.
• [Academic Critique]:
• Active in New York and Tokyo, Kengo Watanabe represents the "Pop Sensibility" of the young generation. His works are bright in color, possibly incorporating street graffiti or anime aesthetics, reflecting visual experiences under globalized consumer culture. His winning at the ACT Art Grand Prize exhibition shows his work achieves balance between commerce and art280.

68. woga

• Academic Positioning:Subconscious Automatic Writing / Boundary of Art Brut 281
• Career Summary: Shinjuku Ophthalmologist Gallery / The Artcomplex Center of Tokyo / ACT282.
• [Academic Critique]:
• woga's work touches the boundary of "Art Brut." Through compulsive repetitive depiction like "Automatic Writing," he attempts to excavate deep subconscious imagery. On his picture plane, natural landscapes and psychological phenomena entangle; dense lines and totems seem like visualized records of neural transmission. This creation method transcends simple illustration narrative, carrying a ritualistic focus and spiritual tension283.

69. FASC

• Academic Positioning:Anonymity and Symbols 284
• Career Summary: Contemporary Artist285.
• [Academic Critique]:
• FASC, named with an English abbreviation, represents the side of "Anonymity" and "Symbolization" in the exhibition. Their work may carry tendencies of street art, pop art, or minimalism, bringing a mysterious and modern atmosphere to the exhibition hall286.

【Section 4: Global Nomads & Residency】

70. Minori Warabisako

• Academic Positioning:Moving Landscapes / Global Nomad 287
• Career Summary: Cruise Ship Resident Artist / New York St. Augustine Church Permanent Collection / Saatchi Gallery288.
• [Academic Critique]:
• Minori Warabisako demonstrates an ultimate "Nomadism" perspective. Her studio is a moving cruise ship; recorded on canvas are constantly changing horizons and cultural spectra. She uses non-traditional media like coffee for creation; this painting implying smell and taste breaks the restrictions of regionalism, presenting a truly "Globalized" visual experience289.

71. Aki Guarino

• Academic Positioning:Dual Vision of the Returnee 290
• Career Summary: Studied in France / Toyama Prefecture Resident Artist / Etchu Art Festa Excellence Award291.
• [Academic Critique]:
• Possessing a French art education background but choosing to create in residence in Toyama Prefecture. Aki Guarino's work is a product of "Cultural Hybridity." She uses European contemporary art vocabulary to reinterpret the spatial memory of Japanese vernacular architecture (like earthen storehouses, closed schools), demonstrating the unique dual perspective of a "U-Turn Artist"292.

【Chapter V】 The Spectrum of Unite: Diversity & Micro-Narratives (Part A)

The Spectrum of Unite: Diversity & Micro-Narratives (Part A)

[Curator's Guide]

This chapter complements the most solid grassroots power in the exhibition, including the technical backbone of the academic school, network weavers promoting international exchange, and mid-career artists active in museums everywhere293.

【Section 1: Academic Backbone & Printmaking】

Artists in this block mostly come from top institutions like Tokyo University of the Arts or focus on the indirect aesthetics of Printmaking.

72. Akira Shiomi

• Academic Positioning:Director of Printmaking Workshop / Technique and Theory 294
• Career Summary: Tokyo University of the Arts Oil Painting Dept / Art Director of MMG Printmaking Workshop295.
• [Academic Critique]:
• As the director of MMG Printmaking Workshop, Akira Shiomi has a profound understanding of "Imprints." His work transcends simple print reproduction functions, exploring the dialectical relationship between "Plate" and "Image." His work style is rigorous, demonstrating the Tokyo Geidai system's ultimate pursuit of media technology and theoretical height296.

73. Hiroyuki Tajima

• Academic Positioning:Duet of Oil Painting and Printmaking 297
• Career Summary: Tokyo University of the Arts Oil Painting Dept & Printmaking Lab / Print Association Exhibition298.
• [Academic Critique]:
• Hiroyuki Tajima wanders between the directness of oil painting and the indirectness of printmaking. Dual training at Tokyo Geidai allows him to bring layer thinking of printmaking into oil painting, or brushstrokes of painting into printmaking. Works are often seen in professional spaces like Chikyudo Gallery, showing precise control over color layers and planar composition299.

74. Kenichi Inoue

• Academic Positioning:Environment and Imprints 300
• Career Summary: Sokei Academy of Fine Art & Design Printmaking Dept / Naguri Lake Outdoor Art Exhibition301.
• [Academic Critique]:
• Kenichi Inoue conducts experiments of "Printmaking Intervening in Environment." He brings prints usually displayed indoors to outdoor venues like Lake Naguri, exploring how man-made imprints interact with natural wind, light, and water, challenging the boundaries of print display302.

75. Michiko Uesugi

• Academic Positioning:Quietude of Black and White 303
• Career Summary: Solo Exhibition at Shirota Gallery (Mecca of Modern Printmaking)304.
• [Academic Critique]:
• Exhibiting long-term at Shirota Gallery represents Michiko Uesugi's status in the printmaking circle. Her work style is introverted, presenting a quiet monochrome world through traces of corrosion or carving. In the subtle modulation of black and white, she demonstrates extremely high technical completion and spiritual depth305.

76. Junko Sugano

• Academic Positioning:Vision of the Pan-Sea of Japan 306
• Career Summary: Musashino Art Junior College / Shunyo Exhibition Newcomer Award / Russia Biennale307.
• [Academic Critique]:
• As a winner of the Shunyo Exhibition Newcomer Award, Junko Sugano inherits the "Opposition Spirit" tradition of Shunyo-kai. She is active in Pan-Sea of Japan (Toyama-Russia) art exchange; her work style is simple and powerful, focusing on cultural connections under geopolitics and local climate308.

【Section 2: Global Networks & Korean Perspectives】

This block connects Asia and the world through AAN (Asian Artists Network) and international gallery networks.

77. Yoko Yamada

• Academic Positioning:Network Weaver / Asian Connection 309
• Career Summary: President, Asian Artists Network (AAN)310.
• [Academic Critique]:
• Yoko Yamada is a key promoter of the "Unite" concept in this exhibition. As AAN President, her artistic practice lies not only in personal creation but in "Connecting." She is dedicated to building dialogue platforms for artists from Japan and Asian countries; her works often carry cross-cultural symbols and are visual embodiments of art diplomacy311.

78. Hyun-suk Ryu

• Academic Positioning:Korean-French Hybrid Mainstream Elite 312
• Career Summary: Hongik University / Académie de la Grande Chaumière / Collections by Samsung, Hyundai Motors313.
• [Academic Critique]:
• Hyun-suk Ryu's resume represents the elite path of the Korean art world. Backgrounds at Hongik University and Grande Chaumière make her works possess both the spirituality of Korean monochrome painting and the compositional sense of European abstract painting. Being collected by giants like Samsung and Hyundai Motors proves her work's dual success in commerce and academia, displaying a grand, steady international style314.

79. YUKIKO

• Academic Positioning:Contemporaneity of Watercolor 315
• Career Summary: Emerson Umbrella Center, USA / M.A.D.S Gallery, Milan316.
• [Academic Critique]:
• YUKIKO brings traditional watercolor painting into the realm of contemporary art. Exhibition experiences in the US and Milan enable her watercolor works to shed the small-piece format, possessing the thickness and spatial tension of oil paintings. She explores the accidental flow of water and pigment on paper, demonstrating the modern translation of Eastern media in a Western context317.

80. Akiko SIACCA

• Academic Positioning:Dual Dweller of Market and Creation 318
• Career Summary: Tama Art University / Ginza Gallery President / 700 Exhibition Experiences319.
• [Academic Critique]:
• As a painter and also a Ginza gallery president, Akiko SIACCA possesses a unique dual perspective. Her work style is usually brightly colored, possessing high decorativeness and market affinity. The amazing record of 700 exhibitions shows her profound understanding of art ecosystem operations and abundant creative energy320.

81. HIROMI TOMINAGA

• Academic Positioning:Enveloping Sense of Large Scale 321
• Career Summary: Tama Art University / Major Galleries in Ginza322.
• [Academic Critique]:
• HIROMI TOMINAGA's creation focuses on "Large-scale" painting. She attempts to envelop the audience's bodily perception with "Color Fields." Her works are bold and concise in composition, emphasizing the emotional power of color itself, possessing a strong visual presence in the exhibition hall323.

【Chapter V】 The Spectrum of Unite: Diversity & Micro-Narratives (Part B)

The Spectrum of Unite: Diversity & Micro-Narratives (Part B)

【Section 3: Sculpture, Space & Nature】

This block focuses on the occupation of 3D space and dialogue with natural materials.

82. Satoru Fujishita

• Academic Positioning:Volume of Outdoor Sculpture 324
• Career Summary: The Hakone Open-Air Museum Award / Independent Art Association Newcomer Award325.
• [Academic Critique]:
• Winning "The Hakone Open-Air Museum Award" is an extremely high honor, usually given to large sculptures capable of dialogue with great nature. Satoru Fujishita's work possesses strong constructiveness and "Volume"; he is adept at utilizing material weight and balance to create monumental visual focal points in space326.

83. Toshihiro Uchihira

• Academic Positioning:Craft Spirit of Sculpture 327
• Career Summary: Nagoya University of the Arts Sculpture Dept / KOBATAKE Workshop / Hands Grand Prize328.
• [Academic Critique]:
• Toshihiro Uchihira's work combines the modeling power of sculpture with the precision of craft. Graduating from KOBATAKE Workshop gives him a craftsman-like dedication to materials (possibly wood, stone, or metal). The Hands Grand Prize winning experience shows his work possesses unique creativity and handmade warmth329.

84. Fumiko Kamo

• Academic Positioning:Modeling Vocabulary of an Educator 330
• Career Summary: Musashino Art University Sculpture Dept / Art Teacher331.
• [Academic Critique]:
• Fumiko Kamo's work style is steady, demonstrating academic sculpture's rigorous exploration of form, volume, and spatial relationships. Her background as an art teacher often gives her works an inspiring quality, attempting to convey concern for nature or humanity through modeling332.

85. Hitoshi Suzuki

• Academic Positioning:Cycle of Earth and Life 333
• Career Summary: Tokyo Gakugei University (Ceramics) / Inspired by Michio Hoshino334.
• [Academic Critique]:
• Inspired by ecological photography master Michio Hoshino's "The Long Journey," Hitoshi Suzuki's work focuses on "Life Cycles." Using ceramics as a medium, his works are full of the temperature of soil and natural texture. He attempts to awaken urban people's awe for the natural environment through art; his works have strong "Ecological Ethics" colors335.

【Section 4: Modern Painting & Salon Aesthetics】

This block contains figurative, semi-abstract painters and those deeply influenced by Japanese-French salon culture.

86. Kuniko Aoki

• Academic Positioning:Elegance of French Salon 336
• Career Summary: Studied under Yuji Shirao / Japan-France Modern Art Exhibition Minister of Education Award337.
• [Academic Critique]:
• Kuniko Aoki's work exudes a pure "Japan-France Salon" temperament. She is extremely particular about color usage, pursuing harmony and elegance in the image. She does not pursue radical deformation but injects modernist light and shadow layers into figurative depiction, demonstrating the Japanese Western painting world's localized transformation of "French Taste"338.

87. Kiyoshi Monjugawa

• Academic Positioning:Visual Form of Cultural Diplomacy 339
• Career Summary: Japan-France Modern Art Exhibition Executive Committee Chairman / Nihon University College of Art340.
• [Academic Critique]:
• As the Executive Committee Chairman of the Japan-France Modern Art Exhibition, Kiyoshi Monjugawa's work style is grand and steady, emphasizing narrative and humanistic spirit. His paintings aim to transcend language barriers and convey universal aesthetic values, being standard international salon-style masterpieces341.

88. Akane Asano

• Academic Positioning:Echo of the New Leipzig School 342
• Career Summary: Kyoto University of Art and Design / Exhibited in Leipzig, Germany343.
• [Academic Critique]:
• Experience active in Leipzig, Germany, deeply influenced Asano's visual language. Her painting carries characteristics of the "New Leipzig School"—combining figurative narrative with surreal scenes. The image carries a cool alienation, with faint light shining through grayscale, a collision of Kyoto techniques and European concepts344.

89. Tsunamasa Sasaki

• Academic Positioning:Decorativeness and Universal Beauty 345
• Career Summary: AJAC Member / Sompo Japan Art Award / Awards in Europe and US346.
• [Academic Critique]:
• Tsunamasa Sasaki's frequent winning experience in Europe and the US shows his work style has strong decorativeness and cross-cultural communication power. He excels at using color contrast and composition to create visual totems that are both modern and possess Eastern foundations347.

90. Yoshiko Oda

• Academic Positioning:Poetry of Semi-Abstraction 348
• Career Summary: Musashino Art University Master's / Shinsho Exhibition349.
• [Academic Critique]:
• Yoshiko Oda attempts to find balance between figurative and abstract. She symbolizes objects in reality, retaining recognizable forms but endowing them with subjective colors, displaying a semi-abstract modern poetry350.

91. Makoto Anazawa

• Academic Positioning:Structural Realism 351
• Career Summary: Niki Exhibition / Chiba Prefecture Governor's Award352.
• [Academic Critique]:
• As a regular of "Niki-kai," Makoto Anazawa sticks to the baseline of "Structural Realism." Even when dealing with landscapes or still lifes, his works show rigorous geometric skeletons and solid volume, a visual declaration against the era of thin images353.

92. Rieko Ito

• Academic Positioning:Exploration of Free Art 354
• Career Summary: Musashino Art Gakuen / Jiyu Bijutsu Exhibition355.
• [Academic Critique]:
• Early experience participating in the Jiyu Bijutsu (Free Art) Exhibition established Rieko Ito's eclectic creative attitude. Her works may involve experiments with multiple media, demonstrating continuous exploration of formal freedom356.

【Section 5: Conceptual, Emerging & Cross-Over】

This block contains conceptual art, music crossovers, and emerging forces in the gallery circle.

93. Shozo

• Academic Positioning:Phenomenological Art / Genesis of Perception 357
• Career Summary: Kyoto University of the Arts Master's / Kameyama Triennale358.
• [Academic Critique]:
• Shozo's research field is "Genesis of Perception." This means his art is not just making objects, but making "Experiences." Through installation or video, he explores how humans perceive time and space; works have strong philosophical speculative colors359.

94. Masaki Okayama

• Academic Positioning:Concept Architecture / Ontology 360
• Career Summary: Kyoto University of the Arts / Studied under Takeshi Umehara (Philosopher) / Collected by Polish Museums361.
• [Academic Critique]:
• Studying under philosopher Takeshi Umehara, Masaki Okayama's work is "Visualized Philosophy." His proposed concept of "Concept Architecture" views painting as a framework of thought. Works collected by the National Museum in Poland prove his academic value in exploring art ontology362.

95. Masami Nomura

• Academic Positioning:Visualization of Hearing 363
• Career Summary: Improvisational Guitarist / Abstract Painter364.
• [Academic Critique]:
• Masami Nomura's painting is "Visible Sound." As an improvisational guitarist, his brushstrokes are like played notes, full of speed and broken rhythm. Viewing his paintings is like hearing the sound of colors colliding on canvas365.

96. Miki Kajiyama

• Academic Positioning:Installation of Memory and Time 366
• Career Summary: Kyoto Seika University Doctoral Program / KUNST ARZT Gallery367.
• [Academic Critique]:
• Active at Kyoto experimental gallery KUNST ARZT, Miki Kajiyama excels at handling "Site-specific" installations. She focuses on spatial memory and the passage of time; works often carry an archaeology-like poetry368.

97. Kasumi Katagiri

• Academic Positioning:Modern Composition of Graphic Design Sense 369
• Career Summary: Contemporary Artist Exhibition Newcomer Award / Beauty of Origin Osugi Award370.
• [Academic Critique]:
• Kasumi Katagiri successfully combines avant-garde nature with commercial potential. Her works carry a strong sense of graphic design, utilizing hard-edge geometry and bright colors to construct a rhythmic visual maze, an emerging talent attracting much attention in NAU371.

98. Rintaro Sekino

• Academic Positioning:Figurative New Path of Academic Elite 372
• Career Summary: Osaka University of Arts PhD / Shell Art Award373.
• [Academic Critique]:
• Supported by the Shell Art Award and Mitsubishi Corporation Art Gate Program, Rintaro Sekino is a typical academic elite. His works inject contemporary alienation and materiality into figurative painting, demonstrating the young generation's inheritance and rebellion against painting traditions374.

99. Midori Kamimura

• Academic Positioning:Illustration Narrative of Sociological Perspective 375
• Career Summary: Kinjo Gakuin University Sociology / 3331 Chiyoda Arts Festival Tomoko Konoike Prize376.
• [Academic Critique]:
• Sociology background gives her a unique observational perspective. Work style is light, often carrying illustrative narrative features, exploring alienation in interpersonal relationships or tiny daily miracles in modern society377.

100. Taimaru Suemoto

• Academic Positioning:Temperature of Time 378
• Career Summary: Gallery Hinoki Selection Exhibition379.
• [Academic Critique]:
• Taimaru Suemoto's work retains a warm humanistic texture amidst the cold trend of contemporary art. He does not pursue visual violence but invites the viewer to discover the weight of time and memory in layers of superimposed color380.

101. Masaya Iwasaki

• Academic Positioning:Roamer of International Metropolises 381
• Career Summary: Ginza Modern Art / New York The Nippon Club / Paris382.
• [Academic Critique]:
• His exhibition resume shows a typical "Contemporary Japanese Artist Overseas Path." Works possess high universality, leaning towards modernist abstraction or semi-figuration in style, facilitating cross-cultural visual communication383.

102. Takeshi Tamura

• Academic Positioning:Practice of Socially Engaged Art 384
• Career Summary: Sapporo International Art Festival (SIAF) 2017 Participant / Tenjinyama Art Studio Residency385.
• [Academic Critique]:
• The core of Takeshi Tamura's creation lies in "Site" and "Relation." As a participant in the Sapporo International Art Festival, his art practice often leaves the gallery's white box and enters communities and public spaces. He focuses on the interaction between people, environment, and art action; works have strong social engagement nature, an important case of "Art Intervening in Society" in the NAU exhibition386.

103. Masashi Sugiyama

• Academic Positioning:Call of Primitive Energy 387
• Career Summary: African Art Museum Related Artist / Solo Exhibition "Cracked Earth and Cry of the Cow"388.
• [Academic Critique]:
• Masashi Sugiyama's work is associated with the "African Art Museum," which is extremely rare among contemporary Japanese artists. His creative themes like "Cracked Earth" show he is deeply influenced by "Primitivism" and earth energy. Brushstrokes are rough, colors heavy, attempting to awaken a wild, root vitality within modern civilization389.

104. Etsuko Fukue

• Academic Positioning:Resonance of Zen and Contemporary 390
• Career Summary: Monk of Shinshu Otani-ha / PESCARART International Contemporary Art Award (Italy)391.
• [Academic Critique]:
• As a monk, Etsuko Fukue's art is "Practice." She explores Buddhist philosophies like "Emptiness" and "Impermanence," but not using traditional Buddhist painting forms, instead transforming them into contemporary abstract vocabulary. Her work winning an award in Italy proves this Eastern spirituality transcending religious barriers can conduct deep spiritual dialogue with Western contemporary art392.

105. Wu, Tsai En

• Academic Positioning:Academic Newcomer Crossing the Strait 393
• Career Summary: Master's, National Kaohsiung Normal University, Taiwan / Selected for 81st GENZAN Exhibition, Japan / Recommended at China Academy of Art394.
• [Academic Critique]:
• As one of the youngest newcomers in the Taiwan delegation, Wu Tsai En demonstrates the solid foundation of Taiwan's academic art education. Her successful selection into Japan's long-established "GENZAN" proves her work possesses the strength to dialogue with Japanese contemporary art. Her creation is rigorous in form but open in concept, a potential stock for the future of Taiwan-Japan art exchange395.

106. Maki Chisaka

• Academic Positioning:Weaving of Sensibility and Color 396
• Career Summary: Contemporary Artist397.
• [Academic Critique]:
• Maki Chisaka's work has a unique personal vocabulary in color usage. She may tend to use soft or strongly contrasting color tones to construct images, exploring the subtle fluctuations of personal emotion in contemporary life, demonstrating the persistence of the "Painterliness" of the mid-level contemporary art scene398.

107. Kazuki Chikyo

• Academic Positioning:Boundary between Abstraction and Figuration 399
• Career Summary: Contemporary Artist400.
• [Academic Critique]:
• Kazuki Chikyo's creation wanders between figurative symbols and abstract backgrounds. He attempts to establish a new order on the canvas, guiding the audience into a surreal visual experience through the deconstruction and reorganization of form401.

108. Chitose Ninomiya

• Academic Positioning:Diversity of Visual Vocabulary 402
• Career Summary: Active in Contemporary Art Group Exhibitions403.
• [Academic Critique]:
• Chitose Ninomiya's works frequently appear on important group exhibition lists, showing her creation has stable quality and sustained exhibition vitality. Her work style may explore material texture and spatial composition, faithfully reflecting the diverse aspects of media exploration by Japanese contemporary artists404.

109. Suzumadoka

• Academic Positioning:Semiology of the Subconscious 405
• Career Summary: Contemporary Artist406.
• [Academic Critique]:
• As a mysterious presence in the exhibition, Suzumadoka's work may carry strong symbolic features. Whether through tangled lines or flat coating of color, she attempts to excavate scenes deep in the subconscious, bringing an unpredictable fresh atmosphere to the exhibition407.

110. NIL

• Academic Positioning:Pulse of the Urban Underground 408
• Career Summary: Active at Shibuya No.12 Gallery, Bar SiSi Tsukiji409.
• [Academic Critique]:
• NIL's activity bases (Shibuya, Tsukiji bar gallery) show their work is deeply rooted in Tokyo's "Urban Underground" culture. Their creation may involve graffiti, collage, or appropriation of ready-mades, directly reflecting the survival state and visual experience of the young generation in the urban jungle, carrying a strong street atmosphere410.

【Chapter VI】 The Final Spectrum

111. Mitsuko Ishii

• Academic Positioning:Lifestyle Aesthetics of an Art Family 411
• Career Summary: Daughter of Sculptor Tsuruzo Ishii / Life Design Research412.
• [Academic Critique]:
• Born into a prominent art family, Mitsuko Ishii's creation crosses the fence between fine art and lifestyle design. She inherits the family's deep aesthetic cultivation, viewing art as part of life; works reveal an elegant, refined classical temperament while possessing the practical rationality of modern design413.

112. Minoru Iida

• Academic Positioning:Spatial Narrative of Stage Art 414
• Career Summary: Tokyo Geidai / Kisaku Ito Award (Master of Stage Art Award)415.
• [Academic Critique]:
• Minoru Iida's painting has a strong "Theatrical Sense." The background of winning the highest honor in stage art, "Kisaku Ito Award," makes him handle canvas space like directing a stage. His works have grand narrative and dramatic light and shadow, guiding the audience into carefully laid-out visual stories416.

113. Shiori Takahashi

• Academic Positioning:Combination of Academic Research and Creation 417
• Career Summary: Kyushu Sangyo University Doctoral Program418.
• [Academic Critique]:
• As a young scholar-artist, Shiori Takahashi represents the new generation force of the Kyushu School. Her activity in AAN (Asian Artists Network) shows she possesses international vision. Her works often explore theoretical problems of contemporary art, demonstrating a balance between academic research and perceptual creation419.

114. Yuri Nakajima

• Academic Positioning:Symphony of Fashion and Lines 420
• Career Summary: Bunka Fashion College / Exhibited at The Ueno Royal Museum421.
• [Academic Critique]:
• Coming from Japan's highest institution of fashion, Yuri Nakajima's work carries a strong "Texturality." She has a unique understanding of fabric drape, cutting, and human structure; her paintings often reveal smooth lines like fashion illustrations, transforming the aesthetics of fashion design into expression of fine art422.

115. Kazuko Hayashi

• Academic Positioning:Optical Mandala 423
• Career Summary: Studied under Kaleidoscope Master Koji Yamami / Optical Art424.
• [Academic Critique]:
• Kazuko Hayashi brings the optical principles of the "Kaleidoscope" into planar creation. She utilizes mirror refraction and symmetric geometry to create brilliant psychedelic mandala totems. This is visual magic based on precise calculation, exploring the infinite possibilities of light and color in geometric structures425.

116. Mizue Fukuda

• Academic Positioning:Visualization of Ghost Story Literature 426
• Career Summary: Illustrations for "Collection of Japanese Mysterious Stories" / Gendai Shichosha427.
• [Academic Critique]:
• Mizue Fukuda's work has strong "Literariness." Her participation in ghost story literature illustration makes her adept at creating dark, mysterious atmospheres with narrative tension. Her paintings are like windows to another world, exploring the fear and curiosity deep in human psychology towards the unknown428.

117. Kiyoshi Matsumura

• Academic Positioning:Dialectic of Nature and Artificiality 429
• Career Summary: Contemporary Artist / Installation and Painting430.
• [Academic Critique]:
• Kiyoshi Matsumura explores the boundary between "Nature and Artificiality" in fine depiction. His work combines painting and installation, presenting a calm observational perspective, attempting to find visual order and balance between chaotic urban landscapes and organic natural forms431.

118. Sayo Matsushita

• Academic Positioning:Darling of International Art Fairs 432
• Career Summary: Zurich Art International / New York Pangea Exhibition433.
• [Academic Critique]:
• Frequently participating in international art fairs in Zurich, New York, etc., Sayo Matsushita's work has strong "Market Orientation" and internationality. Her style is brightly colored and strongly decorative, demonstrating the universal beauty in Japanese contemporary art that can cross cultural barriers and appeal directly to visual pleasure434.

119. Koichi Yamauchi

• Academic Positioning:Recorder of Shinshu Climate 435
• Career Summary: Wako University / Exhibited at Major Museums in Nagano Prefecture436.
• [Academic Critique]:
• Koichi Yamauchi is active in Nagano Prefecture (Shinshu); his creation is deeply rooted in the high mountains and valleys there. Different from the indifference of urban artists, his work carries a thickness of "Fudo" (Climate/Terroir). His activities in Iida City Museum of Art and other places demonstrate the deep humanistic foundation in Japan's regional museum system437.

120. Hiroyuki Yachiguchi

• Academic Positioning:Slice of Tokyo Gallery Ecology 438
• Career Summary: The National Art Center, Tokyo / GALERIE SOL439.
• [Academic Critique]:
• Yachiguchi is an active participant in contemporary galleries in the Ginza/Kyobashi area of Tokyo. His exhibition resume shows he is a backbone force in the Tokyo gallery ecosystem. His works possess the ability to command large exhibition spaces, leaning towards modern paintings with bright colors or strong visual symbols440.

【III. Special Feature: The Asian Nexus】

WANG MUTI

• Academic Positioning:The Strategist & Archivist of Asian Contemporary Art 441
• Career Summary: Director of Japan Contemporary Art Association (GENZAN) Taiwan Liaison Office / NAU Taiwan’s first member / Curator 442.
• [Academic Critique]:As an artist, his work continues the lineage of his awards at Japan's "GENZAN," demonstrating high sensitivity to space and material. He excels at "coding" and "reconstructing" personal memories and historical archives; his works often carry a sense of calm order, attempting to establish a visual index in the chaotic era of information explosion444.
• However, his more important contribution lies in "Connecting." As a key node (Nexus) of the Taiwan and Japan art ecosystems, He assisted more than 2,000 artists in establishing independent digital database platforms and curated multiple high-standard Taiwan-Japan exchange exhibitions. His creation itself is a practice of "Relational Aesthetics." Wang Muti's existence proves that contemporary artists are not just producers of works, but weavers of the art ecosystem445.
• Wang Muti's role in this exhibition is dual: he is both a creator and a "Strategist" with a macro vision443.

青木洲子（Aoki Kuniko）

出生地：山梨縣

經歷：
1988－師從白尾勇次先生

1989　參加國際現代美術展
1992　參加JIAS荷蘭美術獎展
1994　參加日本現代繪畫展 無彩展（大溪地）
1996　參加JIAS西班牙美術獎展（巴塞隆納）
1996　參加日法藝術盛典（法國・米約市）
1997　參加日本—法國現代美術展（大森貝爾波特）
1997　參與創立沙龍‧布蘭美術協會
1997-2014　參加日法現代美術展（沙龍‧布蘭展）
2000-2002　參加日本現代藝術展（加拿大）
2003　參加沙龍‧布蘭展（法國・沙隆昂香檳）
2005　參加日法現代美術展（法國・伊爾扎克）
2006　參加日本現代藝術展（德國・霍夫海姆）
2006-2012　參加日韓現代美術展（首爾）
2008-2012　參加Compagno展（橫濱市民畫廊・橫濱關內）
2009　參加日本現代藝術展（德國）
2010　參加Compagno展（橫濱市民畫廊）
2012　參加Compagno展（橫濱市民畫廊）
2014　退出沙龍‧布蘭美術協會
2017-　參加NAU展

個展：
2001　地球堂畫廊（銀座）
2007　月光莊（銀座）
2014　畫廊檜B・C（京橋）
2017　京橋 畫廊檜

群展：
參加多次群展

獲獎紀錄：
1989　國際現代美術展入選
1989　東京都美術振興會展 奬勵賞
2003　日法現代美術展 東京都議會議長賞
2004　日法現代美術展 東京都知事賞
2006　日法現代美術展 法國大使館賞
2008　日法現代美術展 文部科學大臣賞
其他獎項多次獲得

Place of Birth: Yamanashi Prefecture, Japan

Career:
1988 – Studied under Mr. Yuji Shirao

1989 – Participated in the International Contemporary Art Exhibition
1992 – Participated in the JIAS Netherlands Art Award Exhibition
1994 – Participated in the Japan Contemporary Painting Exhibition, Musai Exhibition (Tahiti)
1996 – Participated in the JIAS Spain Art Award Exhibition (Barcelona)
1996 – Participated in the Japan-France Art Festival (Mirepoix, France)
1997 – Participated in the Japan-France Contemporary Art Exhibition (Omori Bellport)
1997 – Participated in founding the Salon Blanc Art Association
1997–2014 – Participated in the Japan-France Contemporary Art Exhibition (Salon Blanc Exhibition)
2000–2002 – Participated in the Japan Contemporary Art Exhibition (Canada)
2003 – Participated in the Salon Blanc Exhibition (Châlons-en-Champagne, France)
2005 – Participated in the Japan-France Contemporary Art Exhibition (Ilzac, France)
2006 – Participated in the Japan Contemporary Art Exhibition (Hofheim, Germany)
2006–2012 – Participated in the Japan-Korea Contemporary Art Exhibition (Seoul)
2008–2012 – Participated in the Compagno Exhibition (Yokohama Civic Gallery, Kannai, Yokohama)
2009 – Participated in the Japan Contemporary Art Exhibition (Germany)
2010 – Participated in the Compagno Exhibition (Yokohama Civic Gallery)
2012 – Participated in the Compagno Exhibition (Yokohama Civic Gallery)
2014 – Resigned from the Salon Blanc Art Association
2017–Present – Participating in the NAU Exhibition

Solo Exhibitions:
2001 – Chikyu-do Gallery (Ginza)
2007 – Gekkoso (Ginza)
2014 – Gallery Hinoki B・C (Kyobashi)
2017 – Kyobashi Gallery Hinoki

Group Exhibitions:
Participated in multiple group exhibitions

Awards:
1989 – Selected for International Contemporary Art Exhibition
1989 – Encouragement Award, Tokyo Metropolitan Art Promotion Exhibition
2003 – Speaker of the Tokyo Metropolitan Assembly Award, Japan-France Contemporary Art Exhibition
2004 – Governor of Tokyo Award, Japan-France Contemporary Art Exhibition
2006 – French Embassy Award, Japan-France Contemporary Art Exhibition
2008 – Minister of Education, Culture, Sports, Science and Technology Award, Japan-France Contemporary Art Exhibition
Other awards – multiple times

Akiko SIACCA

現居東京
1967年出生於福岡縣
畢業於多摩美術大學

⸻

🖌️藝術家活動

他運用油畫、壁畫、水彩、日本繪畫和裝置藝術等多種表現手法，在日本和海外舉辦過作品展，
並在美術館和畫廊舉辦約700場個展和聯展。

主要
展覽經驗（節錄）
• 1987年 個展 / Parergon II 畫廊（東京）
• 1988年 群展 / 大谷石地下博物館（栃木縣）
• 1989年 群展 / 大谷石地下博物館（栃木縣）

個展 / Open 畫廊（紐約SIACCA
畫廊 • 2016年 創立 SIACCA 畫廊
• 2017 年 個展 / SIACCA 畫廊（東京）
• 2018年 個展 / SIACCA 畫廊（東京）
個展 / Medel Gallery Syu（東京帝國酒店）
• 2019 年展 / SIACCA 畫廊（
20 年） Syu（東京帝國酒店）
• 2019 東京/ Maruzen 畫廊（東京）
群展/SJAC（紐約）
• 2022 個展覽/SIACCA畫廊（東京）
SJAC展覽/Max畫廊（紐約）
群展「PEACE 2022」/Max畫廊（紐約）
酷日本藝術博覽會（紐約）
• 2023 個展覽
/SIACCA 畫廊
（東京）
「SIACCA紐約藝術博覽會2023」/Max畫廊（紐約）
• 2024 個展覽/CCCS國際中心（紐約）
個展/SIACCA畫廊（東京）
SJAC展覽/ Max畫廊（紐約）2024 中藝術博覽會
（台灣台中） “
PEACE 2024”/CCCS 2025年ONE藝術博覽會（台北/台灣） “SAN 2025” / Gallery Max（紐約） SJAC展覽 / Gallery Max（紐約） 2025年台中藝術博覽會（台中/台灣） 2025年 PEACE展 / JAA Hall（紐約） 2025 年度切爾西畫廊

Current Residence: Tokyo, JapanBorn: 1967, Fukuoka PrefectureEducation: Graduated from Tama Art University

🖌️Artistic Activities

Using various media such as oil painting, murals, watercolor, Japanese painting, and installation art, the artist has held exhibitions in Japan and abroad.To date, he has participated in approximately 700 solo and group exhibitions in museums and galleries.

Major Exhibitions (Selected)

• 1987 – Solo Exhibition / Parergon II Gallery (Tokyo)
• 1988 – Group Exhibition / Oya Stone Underground Museum (Tochigi)
• 1989 – Group Exhibition / Oya Stone Underground Museum (Tochigi)
• Solo Exhibition / Open Gallery (New York)
• 2016 – Established SIACCA Gallery
• 2017 – Solo Exhibition / SIACCA Gallery (Tokyo)
• 2018 – Solo Exhibition / SIACCA Gallery (Tokyo)
• Solo Exhibition / Medel Gallery Syu (Tokyo Imperial Hotel)
• 2019 – Solo Exhibition / SIACCA Gallery (Tokyo)
• 2019 – Solo Exhibition / Maruzen Gallery (Tokyo)
• Group Exhibition / SJAC (New York)
• 2022 – Solo Exhibition / SIACCA Gallery (Tokyo)
• SJAC Exhibition / Max Gallery (New York)
• Group Exhibition “PEACE 2022” / Max Gallery (New York)
• Cool Japan Art Fair (New York)
• 2023 – Solo Exhibition / SIACCA Gallery (Tokyo)
• “SIACCA New York Art Fair 2023” / Max Gallery (New York)
• 2024 – Solo Exhibition / CCCS International Center (New York)
• Solo Exhibition / SIACCA Gallery (Tokyo)
• SJAC Exhibition / Max Gallery (New York)
• 2024 Taichung Art Fair (Taichung, Taiwan)
• “PEACE 2024” / CCCS
• 2025 ONE Art Fair (Taipei, Taiwan)
• “SAN 2025” / Gallery Max (New York)
• SJAC Exhibition / Gallery Max (New York)
• 2025 Taichung Art Fair (Taichung, Taiwan)
• 2025 PEACE Exhibition / JAA Hall (New York)
• 2025 Chelsea Gallery

浅野 あかね (Akane Asano)

■ 個人簡介 (Profile)

• 2001年畢業於京都造形藝術大學西畫科
• 同年，於京都Gallery Marronnier舉辦個展
• 2004年
• 於京都Gallery Marronnier舉辦個展
• 2005年
• 於東京Gallery Q舉辦個展
• 2007年
• 於京都Gallery Marronnier舉辦個展
• 2010年同年，於東京GALLERY ART POINT參加聯展
• 於The Artcomplex Center of Tokyo參加聯展
• 參加 GEISAI #14
• 2012年同年，於東京GALLERY ART POINT參加「Reflections 2012」聯展
• 參加萊比錫Spinnerei藝術區 獨立聯合特展 (GALLERY DEN)
• 參加 ART MELBOURNE (Mayumi International)

■ 創作自述 (Statement)

人類個體情感的起伏與波動、時間的流逝等等，是否能像示波器一樣，用光來進行視覺呈現呢？

自從萌生這個想法以來直到現在，我始終在苦惱中掙扎，日復一日地進行著實驗性的創作，總算是持續到了今日。 

■ Profile

• 2001 Graduated from Kyoto University of Art and Design, Department of Western Painting
• Same year: Solo exhibition at Kyoto Gallery Marronnier
• 2004: Solo exhibition at Kyoto Gallery Marronnier
• 2005: Solo exhibition at Tokyo Gallery Q
• 2007: Solo exhibition at Kyoto Gallery Marronnier
• 2010: Participated in group exhibitions at Tokyo GALLERY ART POINT and The Artcomplex Center of Tokyo; participated in GEISAI #14
• 2012: Participated in the group exhibition “Reflections 2012” at Tokyo GALLERY ART POINT; participated in independent joint special exhibition at Leipzig Spinnerei Art Area (GALLERY DEN); participated in ART MELBOURNE (Mayumi International)

■ Artist Statement

Can the fluctuations and waves of human emotions, the passage of time, and other aspects of individual experience be visually expressed through light, like an oscilloscope?

Since this idea first arose, I have struggled in thought while engaging in experimental creation day by day, and have continued this practice up to the present.

穴澤 誠 (Anazawa Makoto)

1948　出生於千葉縣

1968　畢業於千葉縣中堅青年養成所（現為千葉縣農業大學校）

2001　開始繪畫創作

2007　首次入選二紀展（此後每年皆參展）

2008　入選二紀展

2009　入選二紀展

2010　入選二紀展

2010　首次入選千葉縣展（此後每年皆參展，2013、2014年縣展未舉辦）

2011　入選二紀展

2012　舉辦個展（Gallery HINOKI B・C）

2013　入選二紀展

2015　榮獲千葉縣展 縣知事獎

【個展】

2011　入選二紀展 (註：此條目應屬上方年表)

2012　個展（Gallery HINOKI B・C）

2013　入選二紀展 (註：此條目應屬上方年表)

2014　個展（Gallery HINOKI）

2016　個展（Gallery HINOKI）

【聯展】

曾於 Gallery HINOKI、銀座Salon de G、Space 0 等處參展

2018/ 1　「原風景」（現代Artist Center展）　東京都美術館

2018/ 2　 NAU展　國立新美術館

2018/ 5　 21世紀美術連立展 In Paris　Galerie Métanoïa（巴黎）

2018/ 6　 二紀會選拔台灣展　國立臺灣藝術大學

2018/ 8　 「心之故鄉」展　Gallery 曉

Makoto Anazawa (穴澤 誠)

1948 – Born in Chiba Prefecture, Japan

1968 – Graduated from Chiba Prefectural Mid-level Youth Training Institute (now Chiba Prefectural Agricultural College)

2001 – Began painting

2007 – First selected for the Niki Exhibition (participated annually thereafter)
2008 – Selected for the Niki Exhibition
2009 – Selected for the Niki Exhibition
2010 – Selected for the Niki Exhibition
2010 – First selected for the Chiba Prefecture Exhibition (participated annually thereafter; exhibitions not held in 2013 and 2014)
2011 – Selected for the Niki Exhibition
2012 – Solo exhibition (Gallery HINOKI B・C)
2013 – Selected for the Niki Exhibition
2015 – Awarded the Governor’s Prize at the Chiba Prefecture Exhibition

■ Solo Exhibitions
2012 – Solo exhibition (Gallery HINOKI B・C)
2014 – Solo exhibition (Gallery HINOKI)
2016 – Solo exhibition (Gallery HINOKI)

■ Group & Invitational Exhibitions
Participated in exhibitions at Gallery HINOKI, Ginza Salon de G, Space 0, etc.
2018/1 – “Original Landscape” (Contemporary Artist Center Exhibition), Tokyo Metropolitan Art Museum
2018/2 – NAU Exhibition, The National Art Center, Tokyo
2018/5 – 21st Century Art Alliance Exhibition in Paris, Galerie Métanoïa (Paris)
2018/6 – Niki Association Selected Taiwan Exhibition, National Taiwan University of Arts
2018/8 – “Hometown of the Heart” Exhibition, Gallery Akatsuki

阿部雅光（Abe Masamitsu）

創作領域：版畫、美術（主要以版畫作品參展與個展展示）

主要展出經歷
• 舉辦「阿波和紙會館賞受賞紀念 阿部雅光版畫展」。（展期約 2023 年末）

藝術類型：版畫（展覽以單件或系列版畫作品為主）

Artistic Field: Printmaking, Fine Arts (primarily exhibiting prints in solo and group exhibitions)

Major Exhibition History
• Held “Abe Masamitsu Print Exhibition – Commemorating the Awa Washi Hall Award” (around the end of 2023)

Art Type: Printmaking (exhibitions mainly feature individual or series of prints)

荒川久美子（Kumiko Arakawa）

學歷
1985　畢業於日本東京造形大學繪畫系版畫組

展覽經歷
2008　「Harvest 原健與161人的工作展」（銀座東和畫廊）
2011　「街之燈展」（SARP 仙台藝術家據點）
2012　「月光展」（月光莊畫室）
2013　「藝術的語言展」（GINZA Gallery Artist Space）
2013　「日韓交流藝術・Cosmos 展」（Gallery SHIMIZU）
2013　「月光展」（月光莊畫室）
2013　「造形大學 8130×× 展」（Gallery Fontaine）
2013　「第10屆聖誕 BOX 展」（GINZA Gallery Artist Space）
2014　「日韓交流藝術・Cosmos 展」（人吉市文化宮）
2014　「GALLERY HINOKI ART FAIR XVI」（Gallery 檜）
2014　「九月的樹蔭在十月」個展（Bar 十月）
2015　「藝術・Cosmos 四人展」（Gallery SHIMIZU）
2015　「GALLERY HINOKI ART FAIR XVII」（Gallery 檜）
2017　「夏娃們的物語展 V」（GINZA Gallery Artist Space）
2017　「荒川久美子展」個展（Gallery 檜 F）
2018　「極限展」（K’s Gallery）
2019　「荒川久美子展」個展（Gallery 檜 F）
2020　「interactive 2020」展（Gallery 檜 B・C）
2021　「荒川久美子《微光》」個展（Gallery Blue 3143）
2021　「戀紙之人們展」（Gallery 檜 B・C）
2021　「極限展」（K’s Gallery）
2022　「蕗伐之會」（Gallery 曉）
2022　「荒川久美子《夜之路標》」個展（Gallery 檜 e・F）
2023　「蕗伐之會」（Gallery 曉）
2023　「INTERSECTION-SM」（Galerie Shimon）
2023　「層與層之間展」（Gallery 檜 B・C）
2024　「蕗伐之會」（Gallery 曉）
2024　「凹凸展」（美術家聯盟畫廊）

Education
1985 Graduated from the Printmaking Course, Department of Painting, Tokyo Zokei University

Exhibitions
2008 “Harvest: Hara Ken and the Works of 161 Artists” (Ginza Towa Gallery)
2011 “City Lights” (SARP Sendai Artist-in-Residence Place)
2012 “Moonlight Exhibition” (Gekkoso Studio)
2013 “Words of Art” (GINZA Gallery Artist Space)
2013 “Japan–Korea Art Exchange: Cosmos Exhibition” (Gallery SHIMIZU)
2013 “Moonlight Exhibition” (Gekkoso Studio)
2013 “Zokei University 8130×× Exhibition” (Gallery Fontaine)
2013 “10th Christmas BOX Exhibition” (GINZA Gallery Artist Space)
2014 “Japan–Korea Art Exchange: Cosmos Exhibition” (Hitoyoshi City Culture Palace)
2014 “GALLERY HINOKI ART FAIR XVI” (Gallery Hinoki)
2014 “September’s Shade in October” — Solo Exhibition (Bar October)
2015 “Art Cosmos: Four-Person Exhibition” (Gallery SHIMIZU)
2015 “GALLERY HINOKI ART FAIR XVII” (Gallery Hinoki)
2017 “Stories of Eves V” (GINZA Gallery Artist Space)
2017 “Kumiko Arakawa Exhibition” — Solo Exhibition (Gallery Hinoki F)
2018 “On the Edge Exhibition” (K’s Gallery)
2019 “Kumiko Arakawa Exhibition” — Solo Exhibition (Gallery Hinoki F)
2020 “interactive 2020” (Gallery Hinoki B・C)
2021 “Kumiko Arakawa: Glimmering” — Solo Exhibition (Gallery Blue 3143)
2021 “Those Who Cherish Paper” (Gallery Hinoki B・C)
2021 “On the Edge Exhibition” (K’s Gallery)
2022 “Fuki-Gari Group” (Gallery Akatsuki)
2022 “Kumiko Arakawa: Yorube Shirube” — Solo Exhibition (Gallery Hinoki e・F)
2023 “Fuki-Gari Group” (Gallery Akatsuki)
2023 “INTERSECTION-SM” (Galerie Shimon)
2023 “Between Layers” (Gallery Hinoki B・C)
2024 “Fuki-Gari Group” (Gallery Akatsuki)
2024 “Uneven Surfaces Exhibition” (Artists’ Association Gallery)

Plus numerous other group exhibitions.

アレトコレココ（Aretokorekoko）

出生於大阪府。畢業於京都市立藝術大學雕塑系。

以「Wine Top Art」為創作核心，使用原本即將被丟棄的葡萄酒瓶蓋與軟木塞作為素材，不進行人工上色，而是活用材料本身的色彩，主要創作立體作品。以「此時此地（地球）正在活著」為主題，透過自己所喜愛的動物作為創作母題，表現生命的美感、珍貴性與個別性。
作為與動物共同生活在地球上的人類，為了將這樣的意識付諸行動，也將作品銷售收入的一部分捐贈給動物保護相關活動，作為創作活動的一環。

以東京為中心，亦在大阪、愛知等日本各地舉辦個展與參加聯展，並曾參與法國的藝術博覽會，積極拓展海外展出。同時亦於多項藝術博覽會中獲得獎項。

● 個展

2025.9　「Wine Top Art アレトコレ・ココ」Mint 神戶，神戶
2025.6　「Among the Living－在一切生命之中－」大丸梅田店 ART GALLERY UMEDA，大阪
2025.3　「為生活添上生命展」MANIFESTO GALLERY，大阪
2024.11　「Wine Top Art LIFE 展－Live In Future Earth!－」a&w art&wine，大阪
2024.10　「Wine Top Art 展」伊勢丹新宿店 本館6樓 Art & Frame，東京
2024.9　「活著、活著、連結著。」The 14th. Moon＋MANIFESTO GALLERY，大阪
2024.8　「共生－Coexisting－」Hideharu Fukasaku Gallery Roppongi，東京
2024.5　「凝視之物的前方」阪神梅田本店 Hello Culture 2，大阪
2023.5　「ANIMALIA! II」Gallery TK2，東京
2023.5　「ANIMALIA!」阪神梅田本店 Hello Culture 2，大阪
2023.1　「Wine Top Art アレトコレ・ココ展」日本橋高島屋本館 SPACE7-②，東京
2022.10　「Somewhere on the Earth」Gallery Bricolage，神戶
2022.3　「On the Earth」The 14th. Moon Gallery CENTENNIAL，大阪
2021.11　「Beaujolais nouveau 2021」天野之原畫廊，大阪
2021.3　「Amazon」同時代畫廊 collage plus，京都
2020.11　「Isle of Birds」ON the Umeda Gallery Space，大阪
2020.3　「Spring Celebration」a&w art&wine，大阪
2019.10　「Wine Top Art Exhibition」The 14th. Moon Manifesto Gallery，大阪

● 聯展／活動／藝術博覽會

2025　「アレトコレ・ココ × 木下晃希 雙人展《色・鳥・繽紛》」Art ◯ 美空間 Saga，神戶
2025　「Wine Top Art アレトコレ・ココ 作品展出」大丸梅田店，大阪
2025　「TSUNAGU MARKET」高島屋大阪店，大阪
2025　「愛貓藝術家夥伴們 Vol.5」神戶北野美術館，神戶
2025　「小動物與森林生命展 2025 in 神戶」神戶阪急，神戶
2025　第23回 NAU 21世紀美術連立展，國立新美術館，東京

2024　「貓圖書 Festa」小小庭園與貓的圖書館，大阪
2024　「Kitanovember」神戶北野美術館，神戶
2024　第52回 現代藝術國際 AU 展，兵庫縣立美術館，神戶
2024　「Kobe Art Marche」美利堅公園東方酒店，神戶
2024　「TSUNAGU MARKET」高島屋大阪店，大阪
2024　「愛貓藝術家夥伴們展」Gallery Bricolage，神戶
2024　第22回 NAU 21世紀美術連立展，國立新美術館，東京
2024　「Cosmos 2024—宇宙、生命與人類」Art ◯ 美空間 Saga，神戶
2024　「12 公分的世界展」MI Gallery，大阪

2023　「ARTFULL HOLIDAY GIFT 展 2023」Gallery & WineCafe a&w，大阪
2023　「花與生命」銀座・創英畫廊，東京
2023　「SICF23 大獎藝術家・得獎者展」SPIRAL，東京
2023　「神戶北野・貓之日藝術 WEEK 2023」Gallery Bricolage，神戶
2023　「SPIRAL Creators File アレトコレ・ココ＋田中誠展」大阪高島屋 ＋S Spiral Market，大阪
2023　「Tatsukon Selection 2023－Osaka－」大丸梅田店 ART GALLERY UMEDA，大阪

2022　「ARTFULL HOLIDAY GIFT 展 2022」a&w（Art & Wine），大阪
2022　「Tatsukon 2022」Gallery Tatsuya，愛知
2022　「3331 Art Fair / After View 展」Arts Chiyoda 3331 / Gallery TK2，東京
2022　「ART RELATION EXHIBITION『誕生即喜悅』」難波 Parks PARKS HALL，大阪
2022　「筷架遊行」阪神梅田本店，大阪
2022　「Any Kobe 2022」神戶舊居留地～北野町一帶，神戶
2022　「L’Art sous le feu du Daimonji」法國文化中心關西，京都
2022　「葡萄酒與藝術的美麗共演展」Gallery IgM Art，大阪
2022　「金魚展 2022」伊勢丹新宿店 6F Art & Frame，東京
2022　「Kobe Art Marche」美利堅公園東方酒店，神戶
2022　「小動物與森林生命展」千里阪急百貨，大阪
2022　「神戶北野・貓之日藝術 WEEK 2022」Gallery Bricolage，神戶
2022　第20回 NAU 21世紀美術連立展，國立新美術館，東京

2021　「HOLIDAY GIFT 展 2021」a&w（Art & Wine），大阪
2021　「UNKNOWN ASIA 2021 EXTRA」中之島 Festival Tower WEST，大阪
2021　「POP-UP UPCYCLING Art & Design」阪急百貨高槻店，大阪
2021　「Re:CONS+RUC+ION」Gallery H_identity，大阪
2021　「葡萄酒與藝術的美麗共演展 3」Gallery IgM Art，大阪
2021　「同時代展－與創造力的相遇－」同時代畫廊，京都
2021　「POP-UP Keep on Using!!」京阪百貨守口店，大阪
2021　「J’ADORE LE BALLET 展」The 14th. Moon，大阪
2021　「MOUMOUTEN」&Do’s Niko Book Gallery，大阪
2021　「12 公分的世界展」MI Gallery，大阪

2020　「HOLIDAY GIFT 展 2020」a&w（Art & Wine），大阪
2020　「密展」同時代畫廊 Bis，京都
2020　「Material + ART 展」ZENT ART MUSEUM，名古屋
2020　「賞月・與月共遊」阪急梅田本店 CotoCoto Stage 71，大阪
2020　「DOHJIDAI Selection 展 vol.2」同時代畫廊，京都
2020　「Exhibition of the artists living at this moment 2020」同時代畫廊 collage plus，京都

2019　「Beaujolais Nouveau 酒標設計展」Art & Wine，大阪

● 藝術博覽會

2023　「Art Shopping－Salon international d’art contemporain－」羅浮宮卡魯塞爾，巴黎
2022　「Independent Tokyo 2022」東京 Port City 竹芝，東京
2022　「SICF23」青山 Spiral，東京
2021　「OSAKA INTERNATIONAL COLLECTION 2021」大阪市中央公會堂／MI Gallery，大阪
2021　「Unknown Asia 2021」Grand Front Osaka，大阪
2020　「Unknown Asia 2020」線上舉辦

● 獲獎紀錄

2022　「Independent Tokyo 2022」評審特別獎（小林貴獎／INTERART 7）
2022　「SICF23」評審獎（荒木夏實獎）
2021　「OSAKA INTERNATIONAL COLLECTION 2021」（北野美術館獎、Chignitta 獎）
2021　「Unknown Asia 2021」贊助商獎（Festival City 獎）、評論員獎（板倉康裕獎、中川悠獎）
2020　「Unknown Asia 2020」贊助商獎（Motox 獎）、評論員獎（橫山大地獎、藤川和也獎）

● 媒體

2024　《每日新聞》〈表現者們〉
2023　FM 大阪《Marché Coucou》節目出演
2023　網路雜誌《Why not?》
2022　TBS 廣播《Ashita no College》現場出演

Born in Osaka Prefecture. Graduated from the Department of Sculpture, Kyoto City University of Arts.

Working under the concept of “Wine Top Art,” the artist creates primarily three-dimensional works using discarded wine caps and corks as materials. Without applying artificial coloring, the works emphasize and preserve the original colors of the materials themselves.
With the theme “Living here and now (on Earth),” the artist expresses the beauty, preciousness, and individuality of living beings through motifs of beloved animals. As a human living alongside animals on this planet, part of the artist’s activities includes donating a portion of sales proceeds to animal protection initiatives, turning awareness into concrete action.

Based mainly in Tokyo, the artist has held solo and group exhibitions throughout Japan, including Osaka and Aichi, and has actively participated in overseas exhibitions such as art fairs in France. The artist has also received numerous awards at various art fairs.

● Solo Exhibitions

2025.9
“Wine Top Art Aretokore Coco”
Mint Kobe, Kobe

2025.6
“Among the Living”
ART GALLERY UMEDA, Daimaru Umeda Store, Osaka

2025.3
“A Lifestyle Enriched with Life”
MANIFESTO GALLERY, Osaka

2024.11
“Wine Top Art LIFE – Live In Future Earth!”
a&w art&wine, Osaka

2024.10
“Wine Top Art Exhibition”
Art & Frame, 6F Main Building, Isetan Shinjuku, Tokyo

2024.9
“Living, Living, and Connecting”
The 14th. Moon + MANIFESTO GALLERY, Osaka

2024.8
“Coexisting”
Hideharu Fukasaku Gallery Roppongi, Tokyo

2024.5
“Beyond the Gaze”
Hello Culture 2, Hanshin Umeda Main Store, Osaka

2023.5
“ANIMALIA! II”
Gallery TK2, Tokyo

2023.5
“ANIMALIA!”
Hello Culture 2, Hanshin Umeda Main Store, Osaka

2023.1
“Wine Top Art Aretokore Coco Exhibition”
SPACE7-②, Nihonbashi Takashimaya Main Building, Tokyo

2022.10
“Somewhere on the Earth”
Gallery Bricolage, Kobe

2022.3
“On the Earth”
The 14th. Moon Gallery CENTENNIAL, Osaka

2021.11
“Beaujolais Nouveau 2021”
Amanogahara Gallery, Osaka

2021.3
“Amazon”
Dohjidai Gallery collage plus, Kyoto

2020.11
“Isle of Birds”
ONthe Umeda Gallery Space, Osaka

2020.3
“Spring Celebration”
a&w art&wine, Osaka

2019.10
“Wine Top Art Exhibition”
The 14th. Moon Manifesto Gallery, Osaka

● Group Exhibitions / Events / Art Fairs

2025
“Aretokore Coco × Kinoshita Koki: Two-Person Exhibition ‘Colorful Birds’”
Art ◯ Misora Space Saga, Kobe

2025
“Wine Top Art Aretokore Coco – Works Exhibition”
Daimaru Umeda Store, Osaka

2025
“TSUNAGU MARKET”
Takashimaya Osaka Store, Osaka

2025
“Artists Who Love Cats Vol. 5”
Kobe Kitano Museum of Art, Kobe

2025
“Small Animals and Forest Creatures Exhibition 2025 in Kobe”
Kobe Hankyu, Kobe

2025
The 23rd NAU 21st Century Art Joint Exhibition
The National Art Center, Tokyo

2024
“Cat Book Festa”
Small Garden and Cat Library, Osaka

2024
“Kitanovember”
Kobe Kitano Museum of Art, Kobe

2024
The 52nd International AU Contemporary Art Exhibition
Hyogo Prefectural Museum of Art, Kobe

2024
“Kobe Art Marche”
Meriken Park Oriental Hotel, Kobe

2024
“TSUNAGU MARKET”
Takashimaya Osaka Store, Osaka

2024
“Artists Who Love Cats Exhibition”
Gallery Bricolage, Kobe

2024
The 22nd NAU 21st Century Art Joint Exhibition
The National Art Center, Tokyo

2024
“Cosmos 2024: Universe, Life, and Humanity”
Art ◯ Misora Space Saga, Kobe

2024
“The 12 cm World Exhibition”
MI Gallery, Osaka

2023
“ARTFULL HOLIDAY GIFT Exhibition 2023”
Gallery & Wine Cafe a&w, Osaka

2023
“Flowers and Life”
Soei Gallery, Ginza, Tokyo

2023
“SICF23 Grand Prize Artists & Award Winners Exhibition”
Spiral, Tokyo

2023
“Kobe Kitano Cat Day Art Week 2023”
Gallery Bricolage, Kobe

2023
“SPIRAL Creators File: Aretokore Coco + Tanaka Makoto”
Takashimaya Osaka +S Spiral Market, Osaka

2023
“Tatsukon Selection 2023 – Osaka”
ART GALLERY UMEDA, Daimaru Umeda Store, Osaka

2022
“ARTFULL HOLIDAY GIFT Exhibition 2022”
a&w (Art & Wine), Osaka

2022
“Tatsukon 2022”
Gallery Tatsuya, Aichi

2022
“3331 Art Fair / After View Exhibition”
Arts Chiyoda 3331 / Gallery TK2, Tokyo

2022
“ART RELATION EXHIBITION: Joy of Being Born”
PARKS Hall, Namba Parks, Osaka

2022
“Chopstick Rest Parade”
Hanshin Umeda Main Store, Osaka

2022
“Any Kobe 2022”
Former Foreign Settlement–Kitano Area, Kobe

2022
“L’Art sous le feu du Daimonji”
Institut Français Kansai, Kyoto

2022
“The Beautiful Collaboration of Wine and Art”
Gallery IgM Art, Osaka

2022
“Kintoto Exhibition 2022”
Art & Frame, 6F Isetan Shinjuku, Tokyo

2022
“Kobe Art Marche”
Meriken Park Oriental Hotel, Kobe

2022
“Small Animals and Forest Creatures Exhibition”
Senri Hankyu Department Store, Osaka

2022
“Kobe Kitano Cat Day Art Week 2022”
Gallery Bricolage, Kobe

2022
The 20th NAU 21st Century Art Joint Exhibition
The National Art Center, Tokyo

2021
“HOLIDAY GIFT Exhibition 2021”
a&w (Art & Wine), Osaka

2021
“UNKNOWN ASIA 2021 EXTRA”
Nakanoshima Festival Tower West, Osaka

2021
“POP-UP UPCYCLING Art & Design”
Hankyu Department Store Takatsuki, Osaka

2021
“Re:CONS+RUC+ION”
Gallery H_identity, Osaka

2021
“The Beautiful Collaboration of Wine and Art III”
Gallery IgM Art, Osaka

2021
“Dohjidai Exhibition – Encounter with Creativity”
Dohjidai Gallery, Kyoto

2021
“POP-UP Keep on Using!!”
Keihan Department Store Moriguchi, Osaka

2021
“J’ADORE LE BALLET Exhibition”
The 14th. Moon, Osaka

2021
“MOUMOUTEN”
&Do’s Niko Book Gallery, Osaka

2021
“The 12 cm World Exhibition”
MI Gallery, Osaka

2020
“HOLIDAY GIFT Exhibition 2020”
a&w (Art & Wine), Osaka

2020
“Secret Exhibition”
Dohjidai Gallery Bis, Kyoto

2020
“Material + ART Exhibition”
ZENT ART MUSEUM, Nagoya

2020
“Admiring the Moon, Playing with the Moon”
CotoCoto Stage 71, Hankyu Umeda Main Store, Osaka

2020
“DOHJIDAI Selection Exhibition vol. 2”
Dohjidai Gallery, Kyoto

2020
“Exhibition of the Artists Living at This Moment 2020”
Dohjidai Gallery collage plus, Kyoto

2019
“Beaujolais Nouveau Label Design Exhibition”
Art & Wine, Osaka

● Art Fairs

2023
Art Shopping – Salon International d’Art Contemporain
Carrousel du Louvre, Paris

2022
Independent Tokyo 2022
Tokyo Port City Takeshiba, Tokyo

2022
SICF23
Spiral, Aoyama, Tokyo

2021
OSAKA INTERNATIONAL COLLECTION 2021
Osaka City Central Public Hall / MI Gallery, Osaka

2021
Unknown Asia 2021
Grand Front Osaka, Osaka

2020
Unknown Asia 2020
Online

● Awards

2022
Independent Tokyo 2022
Jury Special Prize (Takashi Kobayashi Award, INTERART 7)

2022
SICF23
Jury Prize (Natsumi Araki Award)

2021
OSAKA INTERNATIONAL COLLECTION 2021
(Kobe Kitano Museum of Art Award, Chignitta Award)

2021
Unknown Asia 2021
Sponsor Award (Festival City Award)
Reviewer Awards (Yasuhiro Itakura Award, Yu Nakagawa Award)

2020
Unknown Asia 2020
Sponsor Award (Motox Award)
Reviewer Awards (Daichi Yokoyama Award, Kazuya Fujikawa Award)

● Media

2024
Mainichi Shimbun — “Hyogensha-tachi (The Expressive Artists)”

2023
FM Osaka — Marché Coucou (Radio Appearance)

2023
Online Magazine — Why not?

2022
TBS Radio — Ashita no College (Live Broadcast)

飯田稔（IIDA Minoru）

出生：1946年，東京，日本

學歷：1969年 東京藝術大學美術學部繪畫科（油畫）畢業

創作與職業經歷
• 1969年畢業後開始藝術創作
• 1974年起曾暫停創作，專注於電視與舞台美術設計
• 1981年、1990年獲得伊藤熹朔賞
• 約2002年前後重新恢復個人藝術創作

展覽經歷
• 1970年代起在新橋畫廊、シロタ畫廊（東京）等舉辦展覽及參加群展
• 2009年在シロタ畫廊展出作品
• 2011年於 Gallery Natsuka 展出
• 2019年參加 NAU 21世紀美術連立展（東京）
• 2020年在 Gallery Natsuka 舉辦個展

藝術風格與特色
飯田稔的作品探討城市與環境之間的關係，尤其對海洋、街道、都市形態與時間性的變化有深入觀察，其藝術語彙融合平面與立體表現技巧，嘗試捕捉變化與幻影之間的動態與靜態。

Born
1946, Tokyo, Japan

Education
1969 Graduated from the Department of Painting (Oil Painting), Faculty of Fine Arts, Tokyo University of the Arts

Artistic and Professional Experience
• Began artistic practice after graduating in 1969
• From 1974, temporarily suspended personal art production to focus on television and stage design
• Received the Itō Kisaku Award in 1981 and 1990
• Resumed independent artistic practice around 2002

Exhibition History
• Since the 1970s, held solo exhibitions and participated in group exhibitions at venues including Shinbashi Gallery and Shirota Gallery (Tokyo)
• 2009 Exhibited works at Shirota Gallery
• 2011 Exhibited at Gallery Natsuka
• 2019 Participated in the NAU 21st Century Art Joint Exhibition (Tokyo)
• 2020 Held a solo exhibition at Gallery Natsuka

Artistic Style and Characteristics
Iida Minoru’s work explores the relationship between the city and its environment, with particular attention to the ocean, streets, urban forms, and the temporal changes that shape them. Integrating both two-dimensional and three-dimensional modes of expression, his artistic language seeks to capture moments of stillness and movement that emerge between transformation and illusion.

石井抱旦 (Hotan ISHI)

每日書道展審查員、前衛書法家石井抱旦先生，他是神奈川縣茅崎市的知名書法家。雖然創作出許多前衛書法作品，但近年來，更常見的是宛如當代藝術般的抽象表現。他在書法領域所培養出的感性得以充分發揮，從而確立了自己獨特的風格。

「因為我確實預感到，我所追尋的美，存在於既有的框架之外。1990年獲得書法大獎時，我決定了我的創作模式，那就是將異質或相悖的元素同時並行。它們會相互修正、彼此提升，從而催生出新的刺激與意象。而那裡，是無人曾踏足的處女地。」

石井抱旦活躍於「書法」這個在近代美術中難以歸類的領域。書法以前衛書法的形式在美術界獲得認可，是二戰後的事。而其原因也與浮世繪相同，是來自海外的高度評價。自明治時代以來，日本美術界一直以「書法非美術」（儘管岡倉天心曾駁斥此論）的觀念邁向近代化，然而諷刺的是，在赫伯特·里德的《近代繪畫史》（1968年）中，唯一刊登圖版的日本人作品，就是書法。這並非意指透過「不將其視為文字」而使書法被認可為美術，而是藉由將「書法≠美術」這個近代框架予以「放空」，從而讓美術看見了新的風景。

反過來說，這樣的風景理應也曾出現在書法界，但筆者卻很難感受到。因此，我認為石井先生能輕易地跨越書法與美術的框架，是極其值得關注的。他的作品甚至將近代美術中「自我表現」這個牢固的框架也予以「放空」。

簡單來說，石井先生的方法是一種渲染技法——任由顏料流淌。他選擇壓克力板而非紙或畫布作為基底，是為了讓顏料的動態盡可能地自由。但這不應被視為人為操作，而應理解為是為了「迎神降臨」而佈置的舞台。在此之上，最終的造型便以一種「人與自然協作的證明」之姿態而出現。

石井抱旦（Ishii Botan） 是日本當代藝術界極具代表性的「前衛書道家」，他將傳統漢字書法（Calligraphy）轉化為一種跨越國界的抽象視覺藝術。與傳統書家不同，他更強調墨跡在空間中的「立體感」與「精神爆發力」。

石井抱旦出生於日本群馬縣，現居東京。他被視為將日本墨文化推向國際現代藝術舞台的重要人物。他的創作核心在於**「文字的解構」**，對他而言，筆觸不再只是傳達語意的工具，而是情感、節奏與靈魂的直接映射。

藝術哲學與風格

• 從「文字」到「形態」： 石井抱旦的作品雖然起源於漢字，但他經常將結構徹底拆解，使其看起來像是一幅充滿張力的抽象畫。他認為墨色中蘊含著無限的色彩與層次。
• 身體性的律動： 他的創作過程如同一次呼吸或一場舞蹈。他強調書寫時的「一次性」，不容修飾的線條捕捉了當下的生命力與時間感。
• 材質的實驗： 除了傳統宣紙，他有時也嘗試在不同的媒材上作畫，並利用墨水的濃淡（滲透）、枯筆（飛白）創造出豐富的空間深度，其作品常帶有一種寂靜卻宏大的禪意。

歷年重要展覽與活動

石井抱旦的足跡遍布亞洲與歐洲，其作品受到國際收藏家與公共空間的青睞。

重要個展與群展

• 2020年代： 持續於東京、京都等地的指標性畫廊（如銀座、日本橋一帶）舉辦個展。
• 國際足跡： 曾多次受邀至義大利、德國、法國等地展出，成功將日本「墨」的現代性介紹給西方觀眾。
• 2014年： 參與《墨潮》當代書道交流展，推動跨區域的當代書藝對話。
• 2000年代： 頻繁參加日本國內具代表性的前衛藝術聯展。

獎項與社會評價

• 曾獲得日本書道評論家協會獎等獎項。
• 他的作品被多間企業、高端酒店及私人機構收藏。他同時致力於書道的教育與推廣，透過講座讓更多人理解當代書藝的審美。

藝術特色整理

Botan Ishii: The Avant-Garde Calligrapher Transcending Traditions

Botan Ishii, a judge for the Mainichi Shodo Exhibition and a renowned avant-garde calligrapher based in Chigasaki, Kanagawa, has gained international acclaim for his distinctive style. While his roots lie in calligraphy, his recent works have evolved into abstract expressions reminiscent of contemporary art, fully leveraging the sensibilities he honed in the calligraphic field.

"I had a profound premonition that the beauty I sought existed outside existing frameworks. When I won the Grand Prize in 1990, I decided on a creative mode: letting heterogeneous or contradictory elements run in parallel. They correct and elevate each other, birthing new stimuli and imagery. That place is a virgin territory where no one has set foot."

Ishii operates in the realm of "Calligraphy," a category historically difficult to classify within modern art. It was only after WWII that calligraphy was recognized as "Avant-Garde Calligraphy" in the art world, largely due to high praise from overseas—a trajectory similar to Ukiyo-e. While the Japanese art world modernized under the premise that "Calligraphy is not Art" (despite Okakura Tenshin’s refutations), it is ironic that the only Japanese work featured in Herbert Read’s A Concise History of Modern Painting (1968) was a piece of calligraphy. This did not mean calligraphy was accepted by "ignoring the text," but rather that by "emptying" the modern framework of "Calligraphy ≠ Art," a new landscape was revealed to the world of art.

Conversely, Ishii easily leaps over the boundaries between calligraphy and fine art. His work even "empties" the rigid framework of "self-expression" inherent in modern art. His method is essentially a bleeding technique—letting the pigment flow. Choosing acrylic plates over paper or canvas allows the movement of the paint to be as free as possible. This is not artificial manipulation but a stage prepared for "the descent of the divine." The final form emerges as "proof of the collaboration between man and nature."

【Artist Profile & Style】

Born in Gunma and based in Tokyo, Botan Ishii transforms traditional Kanji calligraphy into a cross-border abstract visual art. He emphasizes the "three-dimensional space" and "spiritual explosiveness" of ink traces.

• From Characters to Form: He deconstructs Kanji into abstract paintings filled with tension and infinite layers of ink.
• Physical Rhythm: His process is like a breath or a dance, capturing a "one-time-only" moment of life.
• Material Experimentation: Working with acrylics and mineral pigments to create a profound sense of Zen-like tranquility and monumental scale.

Selected Achievements:

• Recipient of the Japan Calligraphy Critics Association Award.
• Works held in major corporate and private collections globally.
• Continuous solo exhibitions in Tokyo (Ginza/Nihonbashi) and international showcases in Italy, Germany, and France.

石井三子（Ishii Mitsuko）

石井三子（いしい みつこ）是日本一位出身於藝術世家的畫家，與雕塑家石井鶴造（其父）及石井白亭（其弟）相關，以其繪畫作品和對生活美學的探索著稱，主要活躍於日本現代藝術領域，尤其在生活設計和古典美術方面有深入研究。

家庭背景: 她是著名雕塑家石井鶴造的女兒，哥哥是畫家石井白亭。
藝術專長: 學習日本古典文學和美術，關注生活設計，將古典美學融入現代生活，是日本現代藝術的代表人物之一。
主要貢獻: 她的作品和研究體現了將傳統文化與當代生活結合的理念。

Mitsuko Ishii was a Japanese painter born into a distinguished artistic family. She was the daughter of the sculptor Tsuruzo Ishii and the sister of the painter Hakutei Ishii. She is known for her painting practice as well as her exploration of everyday aesthetics, and was primarily active in the field of modern Japanese art, with particular depth in life design and classical art studies.

Family Background: She was the daughter of the renowned sculptor Tsuruzo Ishii, and her elder brother was the painter Hakutei Ishii.
Artistic Expertise: Trained in classical Japanese literature and art, she focused on life design and sought to integrate classical aesthetics into modern daily life. She is regarded as one of the representative figures of modern Japanese art.
Major Contributions: Her works and research embody the concept of harmonizing traditional culture with contemporary life.

伊藤理恵子 (Ito Rieko)

1977　進入 武藏野美術學園 就讀

1986　修畢 武藏野美術學園研究科 課程

【個展】

1993　埼玉縣立近代美術館 一般展示室

1995-1998　Gallery Koji（神田）

2000　櫟畫廊（銀座）

2000　Cafe Gallery William Morris

2001　多摩信用金庫 東久留米分行

2003　Gallery HINOKI（銀座）

2003　Porte des Arts（京橋）

2003　Gallery At is（上石神井）

2011　Gallery HINOKI A（銀座）

2013　Gallery HINOKI plus（京橋）

2014　Gallery HINOKI plus（京橋）

2016　Gallery HINOKI F（京橋）

2019　Gallery HINOKI F（京橋）

2023　Gallery HINOKI F（京橋）

【聯展】

1987-1999　自由美術展（東京都美術館）

1987-2018　U展（埼玉縣立近代美術館）

2002-　NAU・21世紀美術連立展（東京都美術館、國立新美術館）

2006　「亞洲的新躍進」展（日本駐韓大使館公報文化院 SILK GALLERY，首爾／韓國）

2006　平澤國際藝術節（平澤湖藝術館／韓國）

2012　「J+7」展（Blue Space Contemporary Arts Center，胡志明市／越南）

2012～2013　BIEAF展（淑島文化中心，釜山／韓國）

2018　「NAU in Paris」展（Galerie Métanoïa，巴黎）

2019　「NAU in NY」展（Nippon Gallery，紐約）

2022　「ART WAVE」目黑現代美術展2022（目黑區美術館區民Gallery）

2022　韓日美術交流展「TO DAY-唐津」（永真美術館／韓國）

其他展覽眾多。

Education
1977 Entered Musashino Art School
1986 Completed the Graduate Program, Musashino Art School

Solo Exhibitions
1993 Saitama Prefectural Museum of Modern Art, General Exhibition Room
1995–1998 Gallery Koji, Kanda
2000 Ichii Gallery, Ginza
2000 Cafe Gallery William Morris
2001 Tama Shinkin Bank, Higashikurume Branch
2003 Gallery HINOKI, Ginza
2003 Porte des Arts, Kyobashi
2003 Gallery At is, Kamishakujii
2011 Gallery HINOKI A, Ginza
2013 Gallery HINOKI plus, Kyobashi
2014 Gallery HINOKI plus, Kyobashi
2016 Gallery HINOKI F, Kyobashi
2019 Gallery HINOKI F, Kyobashi
2023 Gallery HINOKI F, Kyobashi

Group Exhibitions
1987–1999 Jiyu Art Exhibition, Tokyo Metropolitan Art Museum
1987–2018 U Exhibition, Saitama Prefectural Museum of Modern Art
2002– NAU: 21st Century Art Joint Exhibition, Tokyo Metropolitan Art Museum; The National Art Center, Tokyo
2006 New Leap Forward in Asia Exhibition, SILK GALLERY, Japan Information & Culture Center, Embassy of Japan in Korea, Seoul
2006 Pyeongtaek International Art Festival, Pyeongtaek Lake Art Museum, Korea
2012 J+7 Exhibition, Blue Space Contemporary Arts Center, Ho Chi Minh City, Vietnam
2012–2013 BIEAF Exhibition, Sookdo Island Cultural Center, Busan, Korea
2018 NAU in Paris, Galerie Métanoïa, Paris, France
2019 NAU in NY, Nippon Gallery, New York, USA
2022 ART WAVE: Meguro Contemporary Art Exhibition 2022, Meguro City Art Museum Citizens’ Gallery
2022 Korea–Japan Art Exchange Exhibition TO DAY – Karatsu, Youngjin Art Museum, Korea

Participated in numerous other exhibitions.

井上一光（Inoue Ikko）

出生：1947年，福岡市，日本
現居：福岡市

身份：當代書藝家、古文字藝術家

教育與組織
• 1970年畢業於立命館大學
• 1992年起擔任一墨會主宰
• 2009年起擔任21世紀書畫作家國際交流協會會長
• 擔任字統文字研究所所長、福岡文化聯盟會員
• 2021年獲頒福岡市文化賞

創作理念
井上一光以現代書藝為主要創作領域，特別以甲骨文與金文等中國古代文字為核心題材。他從漢字的歷史與造型之中汲取宇宙與自然觀念，結合中國古文字學與書藝傳統，提出「從書的古典邁向創造藝術（THE ART OF CREATION）」的創作主題。其作品兼具古典底蘊與創新精神，致力於探索古文字之美在當代空間中的可能性與表現形式。

活動與展出
井上一光以甲骨文、金文等古文字造型創作書藝作品，並透過一墨會在日本國內外舉行個展、會派展及作品發表。他不僅專注於傳統書法技巧，同時著眼於書與現代空間的互動，並在表裝、空間展示等方面進行創新實驗。

風格特色
井上一光的作品融合書法、造形與精神性，其文字造型既有古老文字的符號力量，也帶有現代抽象藝術的動態節奏，呈現出跨越古今的視覺語言。他的書藝不只是文字的書寫，更是一種對生命、宇宙與文化的深刻思考。

Born / Residence
Born in 1947, Fukuoka City, Japan
Currently lives and works in Fukuoka City

Profession
Contemporary Calligrapher; Ancient Script Artist

Education and Affiliations
• Graduated from Ritsumeikan University in 1970
• Founder and Head of the Ichibokukai Association since 1992
• President of the International Association for 21st Century Calligraphy and Painting Artists since 2009
• Director of the Jitō Script Research Institute
• Member of the Fukuoka Cultural Federation
• Recipient of the Fukuoka City Cultural Award in 2021

Artistic Concept
Inoue Ikko works primarily in the field of contemporary calligraphy, with a particular focus on ancient Chinese scripts such as oracle bone inscriptions and bronze inscriptions. Drawing upon the historical development and formal structures of Chinese characters, he extracts cosmological and natural philosophies embedded within them. Grounded in the traditions of ancient script studies and calligraphy, he has articulated the creative theme “From the Classical Foundations of Calligraphy to Creative Art (THE ART OF CREATION).”
His works combine classical depth with an innovative spirit, exploring the potential expressions and possibilities of ancient scripts within contemporary spatial contexts.

Activities and Exhibitions
Inoue Ikko produces calligraphic works based on the forms of oracle bone and bronze inscriptions, presenting them through solo exhibitions, association exhibitions, and public presentations in Japan and abroad via the Ichibokukai Association. While deeply rooted in traditional calligraphic techniques, he also actively explores the interaction between calligraphy and modern space, experimenting with mounting methods and spatial installation.

Stylistic Characteristics
Inoue Ikko’s works integrate calligraphy, form, and spirituality. His character forms retain the symbolic power of ancient scripts while embodying the dynamic rhythm of modern abstract art, creating a visual language that transcends time. His calligraphy is not merely the act of writing characters, but a profound reflection on life, the cosmos, and culture.

井上賢一（Kenichi Inoue）

出生：1958年，日本大分縣
學歷：1982年，創形美術學校版畫系畢業

藝術經歷・個展

1984年－2023年
曾於畫廊檜、畫廊シアカ、真木田村畫廊、畫廊サージ、Studio 4F 等地舉辦個展

群展

• 1988、1989年　大谷地下美術展
  • 1990年　TWO WEEKS IN THE SPRING（館山海岸）
  • 1991－1994年　名栗湖戶外美術展
  • 2016－2025年　21世紀美術連立展
  • 2016年　愛欲的盛宴展（畫廊檜）
  • 2017年　開放的孤獨展（畫廊檜）
  • 2018年　釋放自由的中庸展（畫廊檜）
  • 2021年　書與藝術的對話展（畫廊檜）
  • 2022年　看見動物展（畫廊檜）
  • 2023年　自我肖像展（畫廊檜）
  • 2024年　書與藝術的對話展（畫廊檜）

日本的文字與我

在人類漫長的歷史中，為了在嚴酷的自然環境中生存，人類發明了文字這一強大的工具。文字不僅用於資訊交流，還在技術傳承、戰術傳遞以及娛樂創造上發揮重要作用。我對這些文字有著濃厚興趣。

我的創作靈感主要來自日常生活中廣泛使用的漢字、平假名、片假名等日本文字。通過拆解表意文字漢字，或解構表音文字平假名、片假名，我試圖模糊這些文字的原始意義，以探索新的可能性。

每個文字本身都具有意義，將兩個或三個文字組合在一起，會產生新的含義；將它們層層疊加，則能形成宏大的故事。傳統上，這些通常以「書」的形式呈現，但我希望將它們轉化為「繪畫」的形式表達。

在日本，有一種名為「繪卷」的藝術形式，透過在長卷紙上交替排列圖畫與文字，記錄故事與歷史事件。我希望以現代藝術的形式，創造屬於我自己的繪卷。

近年來，我主要使用杉木作為創作材料。杉木的木紋蘊含日本古老文化，具有神秘魅力。有時這些木紋看似漢字，有時像平假名，甚至隱藏著奇異的形態。我希望利用這些杉木板，創作出屬於我自己的現代版「繪卷」，在當代藝術語境下延續這一古老文化表達。

Born
1958, Oita Prefecture, Japan

Education
1982 Graduated from Sokei Academy of Fine Art, Printmaking Department

Artistic Career / Solo Exhibitions
1984–2023
Held solo exhibitions at venues including Gallery Hinoki, Gallery Shiaka, Makida-mura Gallery, Gallery Serge, and Studio 4F

Group Exhibitions
• 1988, 1989 Ōtani Underground Art Exhibition
• 1990 TWO WEEKS IN THE SPRING (Tateyama Coast)
• 1991–1994 Naguri Lake Outdoor Art Exhibition
• 2016–2025 21st Century Art Joint Exhibition
• 2016 The Feast of Desire (Gallery Hinoki)
• 2017 Open Solitude (Gallery Hinoki)
• 2018 The Middle Way that Releases Freedom (Gallery Hinoki)
• 2021 Dialogue between Calligraphy and Art (Gallery Hinoki)
• 2022 Seeing Animals (Gallery Hinoki)
• 2023 Self-Portrait (Gallery Hinoki)
• 2024 Dialogue between Calligraphy and Art (Gallery Hinoki)

Japanese Characters and Me

Throughout the long history of humankind, writing was invented as a powerful tool to survive in harsh natural environments. Beyond the transmission of information, writing has played a vital role in the inheritance of techniques, the communication of strategies, and the creation of entertainment. I have a deep fascination with this system of characters.

My artistic inspiration arises from Japanese scripts used widely in everyday life, such as kanji, hiragana, and katakana. By dismantling ideographic kanji or deconstructing phonetic hiragana and katakana, I intentionally blur their original meanings in order to explore new possibilities.

Each character carries its own meaning. When two or three characters are combined, new meanings emerge; when they are layered repeatedly, they can generate expansive narratives. Traditionally, such expressions have been presented in the form of calligraphy, but I seek to translate them into the language of painting.

In Japan, there is an art form known as the emaki (illustrated handscroll), in which images and text alternate along a long scroll to record stories and historical events. I aim to create my own version of an emaki through the framework of contemporary art.

In recent years, I have primarily used Japanese cedar wood as my material. The grain of cedar embodies layers of ancient Japanese culture and possesses a mysterious allure. At times, the grain resembles kanji; at other times, it appears like hiragana, or even reveals strange, hidden forms. By working with these cedar panels, I seek to create my own contemporary emaki, carrying this ancient mode of cultural expression forward within the context of contemporary art.

上杉道子（Uesugi Michiko）

日本當代藝術家 / 藝術創作者

展覽經歷
• 曾於 シロタ畫廊（Shirota Gallery） 舉辦個展或參展，展出日期包括 2024年4月22日至27日等展期。 
• 亦曾與緒方かおる共同參加名為 「ゆう遊展」 的聯展（2018年5月28日至6月2日）。 

藝術特色與創作方向（概述）

上杉道子主要在日本當代藝術界活躍，以畫廊展覽形式呈現作品。她的作品曾在東京的知名畫廊展出，並與其他當代藝術家共同參加聯展。

Japanese Contemporary Artist / Art Practitioner

Exhibition History
• Has held solo exhibitions or participated in shows at Shirota Gallery, with exhibition periods including April 22–27, 2024.
• Also participated in a group exhibition titled “Yūyū Exhibition” together with Kaoru Ogata from May 28 to June 2, 2018.

Artistic Characteristics and Creative Direction (Overview)
Uesugi Michiko is active in the Japanese contemporary art scene and primarily presents her work through gallery exhibitions. Her works have been shown at well-known galleries in Tokyo, and she has also participated in group exhibitions alongside other contemporary artists.

宇田川宣人（Udagawa Nobuhito）

主要個展

• 1969 石原畫廊（大宮）
• 1976 東亞畫廊（福岡）
• 1977、1979、1980 みゆき畫廊（銀座）
• 1978 シロタ畫廊（銀座）
• 1980、1992、2000 福岡市美術館
• 1994 Cast Iron Gallery（紐約）
• 1994 Ery’s Cafe（紐約）
• 1994 Southern Cross University Art Museum（澳大利亞）
• 1994 Mode Space（悉尼）
• 1995 福岡日動畫廊
• 1995 New Arts Program Space（賓夕法尼亞）
• 1995 ダイトーギャラリー（福岡）
• 2006 Walter Wickiser Gallery（紐約）
• 2009 そぴあしんぐう（福岡）
• 2014 九州產業大學美術館

主要群展

• 1968–1970 新制作協會展（東京都美術館）
• 1970–1982 たの會（東和畫廊・さえぐさ畫廊・望月畫廊，東京）
• 1972–2019 立玄會（山本文房堂畫廊、九善畫廊、九產大美術館）
• 1974 可能性への意志展（北九州市立八幡美術館）
• 1977 國際青年美術家展（東京都美術館）
• 1978 第21回安井獎展（西武美術館等）
• 1978 日・法現代美術展（巴黎國立格蘭巴雷美術館等）
• 1980–2009 瑠玻展（福岡市美術館・福岡縣立美術館）
• 1983 エンバ美術賞展
• 1985–1992 コーラル展（福岡日動畫廊）
• 1987–2021 亞洲國際美術展（27屆，台北國立歷史博物館、福岡市美術館、首爾市立美術館、馬來西亞國立美術館、新加坡國立美術館、馬尼拉大都會美術館、廣州美術館、香港文化博物館、蒙古國立現代美術館、泰國國立拉查達姆現代美術中心、金門文化公園民俗博物館、九州藝文館）
• 1998 大志摩毅追悼展（望月畫廊，東京）
• 1991 浅井忠紀念賞展（千葉縣立美術館）
• 1991 日・韓・台親善交流美術展（アイワギャラリー）
• 1991 亞洲國際美術創作者展（ギャラリーセピア，香椎）
• 1994 澳大利亞現代美術博覽會（墨爾本王立展覽館）
• 1995 Cast Iron Gallery 藝術家展（紐約）
• 1995 日本現代美術展（吉隆坡、南洋畫廊）
• 1995 長崎水之波紋展（長崎大學・NHK長崎放送局）
• 1995–2013 現代洋畫展（福岡日動畫廊）
• 1996 洋畫秀作展（梅田畫廊主辦，松山等）
• 1997–2000 西風會展（福岡日動畫廊）
• 1997 第26回現代日本美術展（東京都美術館、京都市美術館）
• 1997 田川市美術館大賞選定英展（1993、2001佳作；1997優秀賞）
• 1997–2019 參加多項國際交流展及亞洲藝術節，包括釜山藝術節、天神藝術雙年展、中國青島國際美術雙年展等

著作

• 1976 共著：《美術的學習》（吉野教育圖書出版）
• 1977 共著：《美術的表現與技法》（吉野教育圖書出版）
• 2005 共著：《美術1 美術2・3上下》（日本文教出版）
• 2015 監修：《美術1 美術2・3上下》（日本文教出版）

作品收藏

• 福岡縣立美術館、福岡市美術館、田川市美術館、九州大學、九州產業大學
• 福岡文化財團、直方市夢尼特廳、福岡市綜合圖書館、能古博物館
• JAさいかつ八潮、春日部高等學校、福岡市立舞鶴小中學校
• 新藝術計畫（New Arts Program）、Southern Cross University Art Museum（澳洲）、昌原大學美術館（韓國）、慶尚南道立美術館（韓國）、廣州美術學院學園都市美術館、南京師範大學美術館、馬來西亞國立美術館、布萊頓大學美術館等

獲獎與表彰

• 1970 埼玉縣美術展美術家協會獎
• 1972 朝日西部美術展特選
• 1976 西日本地區新人繪畫雙年展朝日新聞社獎
• 1980 福岡市美術展邀請作家市長賞
• 1993 田川市美術館大賞選定英展（佳作）
• 1997 田川市美術館大賞選定英展（優秀賞）
• 2004 福岡市文化賞
• 2016 福岡市美術聯盟特別功勞者表彰
• 2020 福岡縣文化藝術振興審議會委員

學歷

• 1964 東京藝術大學美術學部 絵画科 油畫專攻
• 1968 東京藝術大學美術學部 畢業（藝術學士）
• 1970 東京藝術大學大學院 美術研究科 修士課程（藝術學修士）

教育與職歷

• 1971–2015 九州產業大學藝術學部 教授（1980起為副教授，兼藝術學科主任）
• 1994 南十字星大學（澳洲）客座教授
• 2006 賓州大學客座藝術家
• 2015 九州產業大學名譽教授

社會與藝術活動

• 福岡市美術聯盟理事長
• 福岡日英協會常任理事
• 亞洲美術家聯盟日本委員會代表
• 九州文化協會理事、副會長
• 福岡文化連盟理事
• 福岡市美術協會會長
• 各類國內外美術展、文化活動策展、評審與諮詢委員職務

Major Solo Exhibitions

• 1969, Ishihara Gallery, Ōmiya, Japan
• 1976, Toa Gallery, Fukuoka, Japan
• 1977, 1979, 1980, Miyuki Gallery, Ginza, Tokyo
• 1978, Shirota Gallery, Ginza, Tokyo
• 1980, 1992, 2000, Fukuoka Art Museum, Japan
• 1994, Cast Iron Gallery, New York, USA
• 1994, Ery’s Cafe, New York, USA
• 1994, Southern Cross University Art Museum, Australia
• 1994, Mode Space, Sydney, Australia
• 1995, Nichido Gallery, Fukuoka, Japan
• 1995, New Arts Program Space, Pennsylvania, USA
• 1995, Daito Gallery, Fukuoka, Japan
• 2006, Walter Wickiser Gallery, New York, USA
• 2009, Sopia Shingu, Fukuoka, Japan
• 2014, Kyushu Sangyo University Art Museum, Japan

Major Group Exhibitions

(Selected)

• 1968–1970, Shinseisaku Association Exhibition, Tokyo Metropolitan Art Museum
• 1970–1982, Tano Group Exhibitions, Tokyo
• 1972–2019, Ritsugen-kai Exhibitions, Japan
• 1974, Will Toward Possibility, Kitakyushu Municipal Museum of Art
• 1977, International Young Artists Exhibition, Tokyo
• 1978, 21st Yasui Award Exhibition
• 1978, Japan–France Contemporary Art Exhibition, Grand Palais, Paris
• 1987–2021, Asian International Art Exhibition (27 editions)
  　held in Taipei, Fukuoka, Seoul, Kuala Lumpur, Singapore, Manila, Guangzhou, Hong Kong, Mongolia, Thailand, Kinmen, and Kyushu
• 1994, Australian Contemporary Art Fair, Melbourne
• 1995–2013, Contemporary Western Painting Exhibition, Fukuoka Nichido Gallery
• 1997, 26th Contemporary Japanese Art Exhibition, Tokyo and Kyoto
• 1997–2019, Participation in numerous international exchange exhibitions and Asian art festivals

Publications

• 1976, Learning of Art (co-author), Yoshino Educational Books
• 1977, Art Expression and Techniques (co-author), Yoshino Educational Books
• 2005, Art 1 / Art 2–3 (co-author), Nihon Bunkyo Publishing
• 2015, Art 1 / Art 2–3 (supervisor), Nihon Bunkyo Publishing

Public Collections

Works are held in major museums, universities, and cultural institutions in Japan and abroad, including Fukuoka Art Museum, universities, and national museums in Asia, Australia, Europe, and the United States.

Awards and Honors

• 1970, Saitama Prefecture Art Exhibition, Artists Association Award
• 1972, Asahi Western Japan Art Exhibition, Special Selection
• 1976, West Japan Emerging Artists Biennale, Asahi Shimbun Award
• 1980, Fukuoka City Art Exhibition, Mayor’s Prize (Invited Artist)
• 1997, Tagawa City Art Museum Grand Prize Exhibition, Excellence Award
• 2004, Fukuoka City Cultural Award
• 2016, Special Contribution Award, Fukuoka City Art Federation
• 2020, Member, Fukuoka Prefectural Council for Cultural and Artistic Promotion

Education

• 1968, B.F.A., Painting (Oil), Tokyo University of the Arts
• 1970, M.F.A., Tokyo University of the Arts

Academic and Professional Career

• 1971–2015, Professor, Faculty of Art, Kyushu Sangyo University
• 1994, Visiting Professor, Southern Cross University, Australia
• 2006, Visiting Artist, University of Pennsylvania
• 2015, Professor Emeritus, Kyushu Sangyo University

Cultural and Artistic Activities

Former President of the Fukuoka City Art Association and Chair of multiple art organizations.
Actively involved in curating, judging, and advising numerous domestic and international art exhibitions.

內平俊浩（Uchihira Toshihiro）

1960年 生於石川縣柳田村（現能登町）笹川
1982年 畢業於名古屋藝術大學美術學部雕刻科
1986年 畢業於KOBATAKE工房
1987年 個展（春秋畫廊：銀座）
　　　　每年於銀座的ギャラリーなつか與ギャラリーK發表作品
1988年 Hands大賞展 審查員特別獎
1990年 參加「20人雕刻展」（新宿）
1992年 銀座 ギャラリーなつか 展覽
1993年 設立內平美術館（能登町）
1993年 銀座 ギャラリーK 展覽
1994年 銀座 ギャラリーなつか 展覽
1997年 銀座 ギャラリーK 展覽
1997年 「手的思考展」（埼玉縣立近代美術館）
1998年 石川縣作家選拔美術展（石川縣立美術館）
1999年 「內平俊浩展」（富山縣黑部市國際文化中心・コラーレ）
2001年 銀座 ギャラリーなつか 展覽
2003年 銀座 ギャラリーなつか 展覽
2006年 銀座 ギャラリーなつか 展覽
2008年 銀座 ギャラリーなつか 展覽
2009年 內平俊浩木雕展（橫濱人偶之家）
　　　　WOMAN21：都市的目光——透過真人大小的女性雕像

主要群展
1985年 「具象雕刻四人展」ギャラリィあい（名古屋）
1987年 「’87 NEXT雕刻展」ギャラリィセンターポイント（銀座）
　　　 「EXE展」代代木藝術畫廊（代代木）（～1989）
1990年 「20人雕刻展」新宿MY CITY（新宿）
1997年 「手的思考展」埼玉縣立近代美術館（浦和）
　　　 「グループ昏知己」新宿三越美術館（新宿）
1998年 「作家選拔美術展」石川縣立美術館（金澤）
2003年 「招福展」ギャラリー澄光（世田谷）
　　　 「雕塑部會員及其同伴展2003」（宮城）
2004年 「名古屋藝術大學Golden Prize展」ノリタケ之森畫廊（名古屋）
　　　 「木雕工作坊」入間市文化創造工坊・アミーゴ（埼玉）
2005年 「雕刻八人展」七尾美術館（石川）
2006年 「石川木雕」石川縣立美術館（金澤）

其他展覽
1979年 「中日展」名古屋市博物館（名古屋）
　　　 「東雕展」愛知縣立美術館（名古屋）（～1981）
1980年 「現代美術展」石川縣立美術館（金澤）（～1983）
1988年 「Hands大賞」審查員特別獎，Spiral Hall（南青山）

1960　Born in Sasagawa, Yanagida Village (now Noto Town), Ishikawa Prefecture, Japan
1982　Graduated from the Department of Sculpture, Faculty of Fine Arts, Nagoya University of Arts
1986　Completed studies at KOBATAKE Studio
1987　Solo Exhibition, Shunju Gallery, Ginza
　　　　　Thereafter, presented works annually at Gallery Natsuka and Gallery K, Ginza
1988　Jurors’ Special Award, Hands Grand Prize Exhibition
1990　Participated in The 20 Sculptors Exhibition, Shinjuku
1992　Exhibition at Gallery Natsuka, Ginza
1993　Founded Uchihei Art Museum, Noto Town, Ishikawa
　　　　　Exhibition at Gallery K, Ginza
1994　Exhibition at Gallery Natsuka, Ginza
1997　Exhibition at Gallery K, Ginza
　　　　　Thinking Hands Exhibition, Saitama Prefectural Museum of Modern Art
1998　Ishikawa Prefecture Selected Artists Exhibition,
　　　　　Ishikawa Prefectural Museum of Art
1999　Toshihiro Uchihei Exhibition,
　　　　　Kurobe City International Cultural Center “Colare,” Toyama
2001　Exhibition at Gallery Natsuka, Ginza
2003　Exhibition at Gallery Natsuka, Ginza
2006　Exhibition at Gallery Natsuka, Ginza
2008　Exhibition at Gallery Natsuka, Ginza
2009　Toshihiro Uchihei Wood Sculpture Exhibition,
　　　　　Yokohama Doll Museum
　　　　　WOMAN21: The Gaze of the City — Life-size female sculptures

Selected Group Exhibitions

1985　Four Figurative Sculptors Exhibition, Gallery Ai, Nagoya
1987　’87 NEXT Sculpture Exhibition, Gallery Center Point, Ginza
　　　　　EXE Exhibition, Yoyogi Art Gallery, Tokyo (–1989)
1990　The 20 Sculptors Exhibition, Shinjuku MY CITY, Tokyo
1997　Thinking Hands Exhibition,
　　　　　Saitama Prefectural Museum of Modern Art, Urawa
　　　　　Group Konchiki, Shinjuku Mitsukoshi Art Museum, Tokyo
1998　Selected Artists Exhibition,
　　　　　Ishikawa Prefectural Museum of Art, Kanazawa
2003　Good Fortune Exhibition, Gallery Choko, Setagaya
　　　　　Sculpture Division Members and Friends Exhibition 2003, Miyagi
2004　Nagoya University of Arts Golden Prize Exhibition,
　　　　　Noritake Garden Gallery, Nagoya
　　　　　Wood Sculpture Workshop,
　　　　　Iruma City Cultural Creation Workshop AMIGO, Saitama
2005　Eight Sculptors Exhibition, Nanao Art Museum, Ishikawa
2006　Ishikawa Wood Sculpture,
　　　　　Ishikawa Prefectural Museum of Art, Kanazawa

Other Exhibitions

1979　Sino-Japanese Art Exhibition, Nagoya City Museum
　　　　　Tōchō Exhibition, Aichi Prefectural Museum of Art, Nagoya (–1981)
1980　Contemporary Art Exhibition,
　　　　　Ishikawa Prefectural Museum of Art, Kanazawa (–1983)
1988　Hands Grand Prize Exhibition, Jurors’ Special Award
　　　　　Spiral Hall, Minami-Aoyama

 woga

IG：https://www.instagram.com/u6.lll.lf21n09/

透過自動書寫筆記般的重複描繪，致力於表現自然風景與現象。

• 1982年出生於日本山形縣
• 自2015年起展開藝術創作與展覽活動
• 目前以東京為據點，積極參與個展與聯展等展覽活動

展覽經歷

• 2015年：《慾望展》新宿眼科畫廊／東京
• 2023年：【雙人展】《不圖之美學》（與安藤光合作）The Artcomplex Center of Tokyo／東京
• 2024年：【個展】《salvation》Jun Kikuchi Graphic／山形
• 2025年：【個展】《經》The Artcomplex Center of Tokyo／東京

woga

Through the repetitive act of automatic drawing, woga explores the expression of natural landscapes and phenomena.

• Born in 1982 in Yamagata Prefecture, Japan
• Began exhibiting artwork in 2015
• Currently based in Tokyo, actively participating in solo and group exhibitions

Exhibition History

• 2015: Libido Exhibition – Shinjuku Ophthalmologist Gallery / Tokyo
• 2023: Duo Exhibition: The Aesthetics of the Unexpected (with Hikaru Ando) – The Artcomplex Center of Tokyo / Tokyo
• 2024: Solo Exhibition: salvation – Jun Kikuchi Graphic / Yamagata
• 2025: Solo Exhibition: Sutra – The Artcomplex Center of Tokyo / Tokyo

岡田繁忠（Okada Shigetada）

日本現代美術家。

Japanese contemporary artist

岡本直枝（Okamoto Naoe）

曾在日產汽車株式會社設計部工作約17年，之後於武藏野美術大學研究所研習纖維藝術，並於2002年取得碩士學位。

現為女子美術大學兼任講師。

主要展覽與榮譽

• 2004年：入選 世界毛氈藝術會議（匈牙利）
• 2007年：纖維藝術絲綢之路計畫（東京〜羅馬）
• 2011年：靈性的本質展（馬德里、薩拉曼卡）
• 2012年：MINIARTEXTIL COMO（義大利、法國），獲 Antonio Ratti 獎
• 2013年：Fiberart International（美國），獲 最佳展出獎
• 2013年：當代微型纖維藝術展（斯洛伐克、立陶宛等）
• 2017年：雕塑學會日本交流展（澳洲、日本）
• 2019年：MINIARTEXTIL COMO（義大利）

此外，參與過多次個展與群展。

出版

• 《纖維的表現與技法》（武藏野美術大學出版社，共著）

She worked in the Design Department of Nissan Motor Co., Ltd. for approximately 17 years.
Afterward, she pursued studies in fiber art at the Graduate School of Musashino Art University, obtaining her Master’s degree in 2002.

She is currently a Part-time Lecturer at Joshibi University of Art and Design.

Selected Exhibitions & Awards

• 2004　Selected for the World Felt Conference, Hungary
• 2007　Fiber Art Silk Road Project (Tokyo–Rome)
• 2011　The Essence of Spirituality Exhibition
  　　　　　(Madrid, Salamanca)
• 2012　MINIARTEXTIL COMO (Italy, France)
  　　　　　Recipient of the Antonio Ratti Award
• 2013　Fiberart International, USA
  　　　　　Best in Show Award
• 2013　Contemporary Miniature Fiber Art Exhibition
  　　　　　(Slovakia, Lithuania, and others)
• 2017　Japan–Australia Exchange Exhibition
  　　　　　of the Sculpture Society (Australia, Japan)
• 2019　MINIARTEXTIL COMO, Italy

In addition, she has participated in numerous solo and group exhibitions both in Japan and internationally.

Publication

• Expression and Techniques of Fiber Art
  　(Musashino Art University Press, co-authored)

岡山 正規（Okayama Masanori）

出生於神戶。
1977年，畢業於市立京都藝術大學美術學部大學院構想設計研究所。
曾向梅原猛教授學習哲學，向依田義賢教授（黑澤明導演的編劇）學習劇本學，向關根勢之助、三尾公三教授學習製作。此外，也曾由關西學院大學教授丹治恒次郎介紹米歇爾·福柯的英文著作《這不是煙斗》。
在評論家中村啟治的介紹下，1975年在校期間參加波蘭克拉科夫雙年展，於比賽部門獲得第二名，並在華沙藝術評論展獲得大獎。此外，參加了大阪府立現代藝術中心的「現代藝術的記述展」、京都日仏學館主辦的「透過馬塞爾·杜象的日本現代藝術展」，與村岡三郎、原口典行、今井祝雄、澤井陽子等藝術家一同參展，也參與了Gallery Core企劃展「融化的魚展」。因故在畢業時與現代藝術斷絕關係，之後從事廣告業，後來在精神病院工作。

公共收藏

• 克拉科夫國立美術館（波蘭）
• 華沙現代藝術中心（波蘭）

2023年，從第21回NAU21世紀美術聯立展（東京）開始重新展開創作活動。

藝術理念與創作觀點
從系統形象論轉向作品存在論，通過「構想建築（Conception-Architecture）」的方法展開藝術實驗。作品探討繪畫、現代藝術、抽象藝術及肖像藝術的本體論與認知關係。

岡山正規強調，繪畫與繪畫相關的話語歷史悠久，從16世紀瓦薩里延續至今，形成堅實的地層；而現代藝術中的裝置藝術等僅有五、六十年的歷史。即便如此，僅專注於繪畫的話語與身體性，可能會缺乏前衛精神。岡山指出，傳統評論如克萊門特·格林伯格的觀點雖正統，但忽略了符號學層面的「畫面」與「語言」關係。

對抽象繪畫，岡山認為其優勢在於無地域與種族限制，但缺點在於其題材的抽象性無法對應語言與命名的歷史，僅是前衛藝術史內部的存在。

在肖像藝術上，他提出「肖像存在論」：人們對肖像的認知，是由自身認知資訊構成的「原像」影響而產生的「像」。繪畫通過隱喻過程與原像的距離來展現造形價值，而攝影的誕生打破了這種層級，成為「幾乎與原像相同的像」，使肖像在社會中大量流通。岡山的藝術實驗即從挑戰這一「肖像存在論」出發。

引用作品精神：《哭泣退場》——薩繆爾·貝克特
2023 岡山正規

Born in Kobe, Japan.
In 1977, he graduated from the Graduate School of Conceptual Design, Faculty of Fine Arts, Kyoto City University of Arts.
He studied philosophy under Professor Takeshi Umehara, screenwriting under Professor Yoshikata Yoda (screenwriter for director Akira Kurosawa), and artistic production under Professors Seinosuke Sekine and Kozo Mio. Additionally, he was introduced to Michel Foucault's English work “This Is Not a Pipe” by Professor Kojiro Tanji of Kwansei Gakuin University.

Through the introduction of critic Keiji Nakamura, while still a student in 1975, he participated in the Krakow Biennale in Poland, winning second place in the competition category, and received the Grand Prix at the Warsaw Art Review exhibition. He also participated in the Osaka Prefectural Center for Contemporary Art’s “Describing Contemporary Art” exhibition, and the “Japanese Contemporary Art Through Marcel Duchamp” exhibition organized by the Kyoto Franco-Japanese Institute, alongside Saburo Muraoka, Noriyuki Haraguchi, Iwao Imai, and Yoko Sawai. He took part in Gallery Core’s curated exhibition “Melting Fish.” Due to certain circumstances, he severed ties with contemporary art upon graduation and subsequently worked in the advertising industry, later employed in a psychiatric hospital.

Public Collections

• National Museum, Krakow (Poland)
• Warsaw Center for Modern Art (Poland)

In 2023, he resumed his artistic activities, beginning with the 21st NAU 21st Century Art Exhibition in Tokyo.

Artistic Concept and Practice
His work transitions from system imagery theory to portfolio ontology, exploring art through Conception-Architecture. His practice examines painting, contemporary art, abstract art, and portraiture from ontological and cognitive perspectives.

Masanori Okayama emphasizes that painting and related discourses have a long history, from Vasari in the 16th century to the present, forming a solid historical stratum, while contemporary art installations have only existed for fifty to seventy years. Even so, focusing solely on painting discourse and physicality may lack avant-garde spirit. Okayama notes that traditional criticism, such as Clement Greenberg’s, is orthodox but ignores semiotic aspects of the relationship between “image” and “language.”

Regarding abstract painting, Okayama observes that while it transcends geographic and racial boundaries, its abstract subject matter cannot engage with language and the history of naming, remaining largely internal to avant-garde art history.

In portraiture, he proposes a portrait ontology: viewers’ recognition of a portrait is shaped by the “archetype image” generated from their own information. Painting conveys value through the metaphorical distance from this archetype, while the advent of photography bypassed this metaphorical process, producing an “image almost identical to the original,” explaining the widespread social circulation of portraits. Okayama’s artistic experiments begin with challenging this portrait ontology.

Inspired Work: Exit Crying — Samuel Beckett
2023 Masanori Okayama

小川移山 (Izan Ogawa)

 
美術家／書作家／表現教育家／初心學舍主宰／埼玉縣國際交流協會會員／一般社團法人CCSC理事／Instagram: izanroad

小川移山先生是一位以獨特墨法創作平面作品的藝術家。本畫廊很榮幸舉辦他第二次個展，誠摯歡迎各位蒞臨觀賞。

—— 代表 中村茂幸（いりや畫廊）

作家小川移山及其作品簡述（一部分摘錄）

小川移山將「無用之物」轉化為創作的祕術，透過與紙張的接觸，墨被粉碎並凝結成新的「黑」之形態。作品以手作為心靈的延伸，拋棄握筆的傳統行為，縮短手與紙的距離，投射出強烈的力量感。墨的運動所形成的線條刻印時間，其粗細與濃淡也反映出力道。重疊的痕跡記錄了時間與空間的變化，留下創作者的瞬時當下。紙上的黑白既是痕跡，也訴說當下，紀錄小川移山瞬間的行為。時間、熱情、思考與掙扎被熱烈而強烈地呈現，有時透過停頓的空白與迷惑留下。這種無法簡單言說的矛盾，展現了他不加修飾、坦率的自我。沒有什麼需要守護的人雖顯脆弱，但即便如此仍毫無防備地呈現自我，這是一種極大的勇氣，也是七十歲之後展現自然自我的傲慢。作品帶給觀者的感動，正是對創作者勇氣與傲慢的敬佩。

—— 申明浩（武蔵野美術大學講師／表象文化論）

小川移山略歷

• 1969年 大學在學期間開設書塾，至今主宰表現教室「初心舎」
• 2016年 起以Repel paper製作人生工作「斷像」系列

主要獲獎紀錄

• 1986 萬紅展翠軒賞（書法）／東日本書展準大賞
• 1987 萬紅展千紫會賞（書法）
• 現職：美術家、表現教育家、初心舎代表、無所屬、埼玉縣國際交流協會會員、武藏大學畢業

個展

• 1987〜2013「移山exhibition1〜20」（埼玉、東京、捷克等地）
• 2016 移山exhibition21「地涌JIYU」（d-lab gallery・埼玉入間）
• 2016 移山exhibition22「斷像2016」（いりや畫廊・東京入谷）
• 2017 移山exhibition23「斷像2017」（d-lab gallery・埼玉入間）
• 2018 移山exhibition24「斷像2018 赤與黑與花」（d-lab gallery・埼玉入間）
• 2018 移山exhibition25「斷像2018 part2」（いりや畫廊・東京入谷）

二人展／群展

• 2004〜2010 埼玉與東京多場群展及交流展
• 國際文化交流：捷克（1997〜）、尼泊爾王國（2000）、高齡者福祉設施（2005〜）

受注制作

• The Peninsula Tokyo、Joan 宮地之里、伊東小涌園、京都酒店、椿山莊等 

Shuzan Ogawa
Artist / Calligrapher / Expression Educator / Director of Shoshinsha Gakusha / Member of Saitama International Exchange Association / Board Member of CCSC / Instagram: izanroad

Shuzan Ogawa is an artist who creates flat works using his unique movement of ink. This is his second solo exhibition at our gallery, and we sincerely welcome everyone to visit.

— Shigeyuki Nakamura, Director of Iriya Gallery

About the Artist and His Work (Excerpt)

Ogawa transforms “uselessness” into a secret of creation. Through his encounter with paper, the ink is crushed and manifests a new form of “black.” His hands, as extensions of the human mind, abandon the traditional act of holding a brush, shortening the distance to the paper and projecting strong energy. The lines traced by the ink record the passage of time, showing variation in thickness and intensity. Overlapping traces record changes in time and space, leaving the artist’s instantaneous presence. The black and white fixed on the paper not only serve as traces but narrate the present, capturing a fleeting action of Ogawa. Time, passion, thought, and struggle are vividly and powerfully expressed, sometimes through pauses of void or hesitation. The irreducible contradictions reveal his unadorned, candid self. While a person with nothing to protect may seem vulnerable, exposing oneself unguarded at seventy years old is both courageous and a proud display of natural authenticity. The impact of his work comes from admiration for the artist’s courage and pride.

— Myungho Shin (Lecturer, Musashino Art University / Representation and Culture Theory)

Biography

• 1969 Opened a calligraphy school while at university, currently directing the expression class Shoshinsha Gakusha
• 2016 Started life work series Dansho using Repel paper

Major Awards

• 1986 Banko Exhibition Suiken Prize (Calligraphy) / East Japan Calligraphy Exhibition Semi-Grand Prize
• 1987 Banko Exhibition Senshikai Prize (Calligraphy)
• Current: Artist, Expression Educator, Director of Shoshinsha, Independent, Member of Saitama International Exchange Association, Musashi University Graduate

Solo Exhibitions

• 1987–2013 Shuzan Exhibition 1–20 (Saitama, Tokyo, Czech Republic, etc.)
• 2016 Shuzan Exhibition 21 “Jiyu” (d-lab gallery, Saitama Iruma)
• 2016 Shuzan Exhibition 22 “Dansho 2016” (Iriya Gallery, Tokyo Iriya)
• 2017 Shuzan Exhibition 23 “Dansho 2017” (d-lab gallery, Saitama Iruma)
• 2018 Shuzan Exhibition 24 “Dansho 2018 Red & Black & Flowers” (d-lab gallery, Saitama Iruma)
• 2018 Shuzan Exhibition 25 “Dansho 2018 Part 2” (Iriya Gallery, Tokyo Iriya)

Group Exhibitions / Two-Person Exhibitions

• 2004–2010 Various group exhibitions and exchanges in Saitama and Tokyo
• International Cultural Exchange: Czech Republic (1997–), Kingdom of Nepal (2000), Elderly Welfare Facilities (2005–)

Commissioned Works

• The Peninsula Tokyo, Joan Miyaji no Sato, Ito Kowakien, Kyoto Hotel, Chinzanso, etc.

尾川和（Ogawa Kazu）

個展

• 2013〜2023（隔年）：O畫廊 UP.S（銀座）
• 2020：Y畫廊（北青山）
• 2022：GALLERY AND LINKS 81（銀座）
• 2024：GALLERY AND LINKS 81（銀座）

公募展

• 2005、2006、2007：上野之森大賞展（上野之森美術館）
• 2012、2013、2015：主体展（東京都美術館）
• 2016〜每年：NAU 21世紀美術聯展
  • 〈2017〜成為會員，2021 獎勵賞〉（國立新美術館）
• 2018：NAU in Paris 展（Gallery Metanoia）
• 2019：NAU in NY 展（日本俱樂部7F畫廊）

群展

• K’s Gallery（銀座）
• GALLERY AND LINKS 81（銀座）
• 畫廊檜（京橋）
• 畫廊志門（銀座）
• STAGE-1（銀座）
• Arts Chiyoda（神田）
• 千駄木畫廊（千駄木）
• 其他展覽

Solo Exhibitions

• 2013–2023 (every other year): O Gallery UP.S, Ginza
• 2020: Y Gallery, Kita-Aoyama
• 2022: GALLERY AND LINKS 81, Ginza
• 2024: GALLERY AND LINKS 81, Ginza

Public Exhibitions

• 2005, 2006, 2007: Ueno-no-Mori Grand Prize Exhibition, Ueno-no-Mori Museum
• 2012, 2013, 2015: Shutai Exhibition, Tokyo Metropolitan Art Museum
• 2016–present (annual): NAU 21st Century Art Exhibition
  • (Became a member in 2017; Encouragement Award in 2021), National Art Center, Tokyo
• 2018: NAU in Paris Exhibition, Gallery Metanoia
• 2019: NAU in New York Exhibition, Japan Club 7F Gallery

Group Exhibitions

• K’s Gallery, Ginza
• GALLERY AND LINKS 81, Ginza
• Gallery Hinoki, Kyobashi
• Gallery Shimon, Ginza
• STAGE-1, Ginza
• Arts Chiyoda, Kanda
• Sendagi Gallery, Sendagi
• Numerous other exhibitions

オギノキヨコ（Ogino Kiyoko）

繊維作家。

荻野清子（オギノキヨコ）

荻野清子是日本美術家，主要創作具象平面作品。自大學時期起，她便與同學朋友（如柴田容子、八鳥七緒、吉井美穂等）共同參與「よきなみ展」等群展，並曾參加台灣的台日交流展，在國內外活躍。她的作品在抽象畫及平面藝術領域受到肯定，透過個展與群展發表其獨特表現風格。

活動特點

• 群展為主：多以大學時期的同伴合作發表，如「よきなみ展」等。
• 具象平面作品：作品特色為融入具象元素的平面創作。
• 國際交流：參加台日交流展（NAU 21世紀美術聯展）等國際美術展覽。

Kiyoko Ogino (オギノキヨコ)
Kiyoko Ogino is a Japanese artist who primarily creates figurative flat works. Since her university days, she has participated in group exhibitions such as the Yokinami Exhibition with her peers (including Yoko Shibata, Nao Hatori, Miho Yoshii, and others), and has exhibited in international exchanges, including Taiwan-Japan collaborative exhibitions. Her works are recognized in the fields of abstract painting and flat art, and she presents her distinctive expressions through both solo and group exhibitions.

Key Features of Her Activities

• Focus on Group Exhibitions: Frequently collaborates with university peers in exhibitions like the Yokinami Exhibition.
• Figurative Flat Works: Notable for flat works incorporating figurative elements.
• International Exchange: Participates in international art exhibitions, such as the Taiwan-Japan exchange exhibitions (NAU 21st Century Art Collaborative Exhibition).

小澤雅美（Ozawa Masami）

 小澤雅美（おざわ まさみ）
手工和紙藝術家小澤雅美以自然素材（如楮、三椏）和手工漉紙技法創作作品聞名。她的作品表現時間中變化的存在，以及水與和紙的循環關係。特別是她使用疊加彩色和紙再以水洗流的技法，創造出獨特的質感與色彩。她的作品如Instagram上介紹的《和紙與水的旋轉17》及另一篇《收到小澤雅美的作品》均曾在浜松的「うみいろ そらいろ」與「風のうし」畫廊展示，其作品以和紙的溫潤感與豐富的色彩表現受到喜愛。

作品特徵

• 素材運用：使用楮、三椏等天然素材，表現與自然的連結。
• 技法：
  • 在底紙上作畫，再貼疊和紙。
  • 乾燥後以水擦洗多餘和紙，形成獨特風格。
  • 重複此流程，產生彩色且具有層次感的表現。
• 主題：「隨時間成長的存在」及「水與和紙的循環」。

相關資訊

• note專欄《糸瓜 meets ART》介紹作品製作過程。
• Instagram帳號「@kaze_no_usi_suzunoharu」亦展示作品，可於干支展等場合觀賞。

小澤雅美的作品融合日本傳統和紙之美與現代感性，是極具魅力的藝術創作。

Masami Ozawa (おざわ まさみ)
Masami Ozawa is a handmade Japanese paper (washi) artist known for using natural materials such as kozo (paper mulberry) and mitsumata, combined with traditional handcrafting techniques. Her works express the changing nature of existence over time and the cycle of water and washi. Particularly, her method of layering colorful washi and washing it with water creates a unique texture and vibrant color. Works introduced on Instagram, such as “Washi and Water Swirl 17” and “Masami Ozawa’s Works Have Arrived”, have been exhibited at galleries in Hamamatsu, including Umi-iro Sorairo and Kaze no Ushi, showcasing the warmth of washi and expressive use of color.

Characteristics of Her Work

• Material Use: Utilizes natural fibers like kozo and mitsumata to express a connection with nature.
• Techniques:
  • Paint on the base sheet and layer washi on top.
  • After drying, wash with water to remove excess paper, creating a distinctive texture.
  • Repeating this process achieves colorful and deep expressions.
• Themes: Represents “beings that grow with time” and “the cycle of water and washi.”

Related Information

• Featured on the note article “Itokuri meets ART”, showing the creation process.
• Instagram account @kaze_no_usi_suzunoharu also showcases her works, viewable at zodiac-themed exhibitions and other events.

Masami Ozawa’s works combine the beauty of traditional Japanese washi with contemporary sensibilities, resulting in captivating and expressive art.

尾田芳子（Oda Yoshiko）

尾田芳子（Oda Yoshiko）是一位日本女性畫家，畢業於武藏野美術大學，屬於新象作家協會會員，以創作寧靜、富有情感的畫作聞名，曾入選新象展並在多個展覽中展出作品。

身份：日本畫家。
學歷：武藏野美術大學大學院造形研究科畢業。
所屬：新象作家協會會員。
風格：追求寧靜的創作，作品如《愛のカタチ》（愛的形狀）展現了對愛的探索。
成就：獲得新象展展賞/佳作賞，並入選損保Japan美術財團選拔展。

Yoshiko Oda is a Japanese female painter who graduated from the Graduate School of Art and Design at Musashino Art University. She is a member of the Shinzo Artists Association and is known for creating calm and emotionally rich paintings. Her works have been selected for the Shinzo Exhibition and displayed in various other exhibitions.

Profile

• Profession: Japanese Painter
• Education: Graduate School of Art and Design, Musashino Art University
• Affiliation: Member of the Shinzo Artists Association
• Style: Pursues tranquility in her creations. Works such as “Ai no Katachi” (Shape of Love) explore expressions of love.
• Achievements: Awarded at the Shinzo Exhibition (Exhibition Prize / Honorable Mention) and selected for the Sompo Japan Art Foundation Selection Exhibition

梶山美祈（Miki Kajiyama）

主要使用丙烯和樹脂等半透明素材創作裝置藝術和立體作品。目標是融合平面與立體、探索二維與三維的差異，創作可以360°觀看的畫作。作品中經常表現方形的海洋或宇宙。當進入海洋或森林時，藝術家體驗到被普遍存在包圍的感覺，並感受到神既存在於我們內心，也存在於外在世界。她希望創作能讓觀者體驗這種感覺。

個人簡介
以「立方體的海漂浮於地面」為想像，作品以視覺變化、二維與三維的融合、平面與立體的差異、以及可360°觀看的畫作為主題，創作立體和裝置等空間作品。研究生時期，藝術家曾有過一種奇妙體驗，感覺我們內在的核心具有意志，而這種意志存在於所有生物之中，甚至與宇宙邊際的物質相同。這成為她創作的核心理念。

此外，她也策劃將作品展示於商店街、三宮地下街、酒店大廳等，讓即使對藝術不感興趣的人也能欣賞作品。活動地區主要在關西。

略歷與獎項

• 2010年：京都精華大學研究所藝術研究科博士前期課程藝術專攻畢業
• 2009–2014年：於Gallery Haneusagi及KUNST ARZT每年舉辦個展
• 2011年：京展 松田賞受獎
• 2015年：神戶Meriken Park Oriental Hotel大廳「life」展覽與策劃
• 2015年：下町藝術祭・古民家計畫「時のはじまり」展覽
• 2017年：MINT神戶 展覽
• 其他：參加多次群展、講座及工作坊

Primarily works with translucent materials such as acrylic and resin to create installations and three-dimensional works. Her goal is to merge two-dimensional and three-dimensional spaces, explore the differences between flat and spatial forms, and create paintings that can be viewed from 360°. Many of her works depict square-shaped seas or cosmic spaces. Experiencing the ocean or forest, she felt enveloped by a universal presence and sensed that divinity exists both within us and in the external world. She aims to create works that allow viewers to experience this sensation.

Profile
Based on the image of “cubic seas floating above the ground,” her works focus on visual variations, the fusion of 2D and 3D, the differences between flat and spatial forms, and paintings viewable from 360°. She creates spatial works including installations and three-dimensional pieces. During graduate school, she had a mysterious experience: she felt that the core within us contains will, which resides in all living beings and is likely made of the same matter as that at the edge of the universe. This insight forms the foundation of her artistic practice.

Additionally, she has organized exhibitions of various artists’ works in shopping streets, underground spaces in Sannomiya, and hotel lobbies to engage people who may not normally be interested in art. Her activities are primarily based in the Kansai region.

Biography & Awards

• 2010: Graduated from Kyoto Seika University, Graduate School of Arts, Master’s Program in Art
• 2009–2014: Annual solo exhibitions at Gallery Haneusagi and KUNST ARZT
• 2011: Kyoto Exhibition – Matsuda Award
• 2015: Exhibition and planning “life” at Kobe Meriken Park Oriental Hotel lobby
• 2015: Shitamachi Art Festival – Kominka Project “Beginning of Time” exhibition
• 2017: Exhibition at MINT Kobe
• Other activities: Group exhibitions, talks, and workshops

片切かすみ（Katagiri Kasumi）

藝術理念與創作特色

片桐かすみ的作品以陶藝與釉彩裝飾為核心，特色是使用磁器土作為本體，並以自創的粉彩釉彩描繪，創造出「優雅且充滿生命力的溫柔世界」。她自25年前開始研究粉彩釉彩，並隨著新釉色的開發，不斷探索新的裝飾方法，作品風格隨之演變。

2010年起，她以「POSITIVE + GRACE — 優雅生命力」為終身創作主題，靈感來源是即使在嚴苛環境中仍能綻放、療癒人心的花朵力量。2022年，她開始進行數位藝術創作，將陶藝作品的影像轉化為數位藝術，創造出陶藝與數位媒介融合的獨特作品。

個人簡歷

• 出生地：日本千葉縣
• 學習經歷：1990年於香港師事英國藝術家，其後在曼谷約20年，以國際化環境中的當代陶藝家身份活動。
• 2016年歸國，於千葉縣工作室創作至今。

獲獎紀錄

• 2019年 現展新人賞
• 2022年 美の起原展 審查員獎（大杉賞）
• 2022年 Contemporary Art Room Gallery Online Competition “FLORAL” 榮譽獎
• 2023年 Contemporary Art Room Gallery Online Competition “OPEN” 榮譽獎
• 2023年 亞洲和平藝術展 平和賞
• 2025年 INFLUENCE GALLERY Online Competition “September Art Competition” Merit Award

創作與活動

• 在香港與曼谷活動逾24年，參加個展、群展，並參與慈善拍賣及酒店、餐廳委託創作。
• 2010年為Six Senses Con Dao度假酒店設計食器。
• 與泰國美術大學交流，並指導曼谷日本人學校的畢業製作。
• 在國際學校與企業舉辦工作坊，涵蓋陶藝與數位藝術。
• 2016年起在日本活動，現於工作室同時創作陶藝與數位藝術作品。

重要展覽經歷（部分）

國際展覽與個展

• 1992 香港茶具博物館「茶器大賽」入選
• 1993 香港雙人展「Poetry of Pottery」
• 1994 紐約 JAL Gallery 與 Lumina Gallery 聯展
• 2000 曼谷 GALLERIA 81 個展
• 2006 曼谷 J-Gallery 個展「Kasumi’s Room」
• 2010 曼谷 Gossip Gallery 個展「Positive + Grace」
• 2013 曼谷 PEOPLE’S GALLERY 個展「Positive Grace 2013」

日本主要展覽

• 2017 雜貨店 Moegi 展覽
• 2018 第74回 現展入選（國立新美術館）
• 2018 日本橋三越本店 涼味之夏展
• 2018 第50回 千葉現展（千葉縣立美術館）
• 2018 第48回 全陶展入選（東京都美術館）
• 2018 個展「優しさの生命力」 Art Space Eumeria 日本橋
• 2019 第75回 現展 新人賞受賞
• 2019 第51回 千葉現展
• 2019 雙人展「色與形的和諧」 銀座畫廊美の起源

2020–2025活動亮點

• 2020 GENTEN・新春藝術展 銀座
• 2021 NAU21世紀美術連立展 出品（國立新美術館）
• 2021 個展「Positive + Grace 2021」
• 2022 日本數位藝術展（京都、川崎）
• 2022 Kasumi Katagiri Ceramic Art Exhibition（Tokyo American Club）
• 2023 數位藝術個展「Kasumi Katagiri Digital Art Exhibition 2023」
• 2023 亞洲和平藝術展 in 金邊 平和賞
• 2024 個展「陶藝・數位藝術35年集大成」 京王廣場酒店
• 2025 多場日本及國際展覽，包含現展、NAU21世紀美術連立展、東京貓藝術展

Artistic Philosophy & Characteristics

Kasumi Katagiri’s work centers on ceramics and glaze decoration, featuring porcelain clay as the base and her original pastel glazes, creating an “elegant and vibrant gentle world.” She has studied pastel glazes for over 25 years, continuously exploring new decorative methods alongside the development of new glaze colors, resulting in an evolving artistic style.

Since 2010, her lifelong creative theme has been “POSITIVE + GRACE — Elegant Vitality,” inspired by the power of flowers that bloom and heal even in harsh environments. In 2022, she began producing digital art, transforming images of her ceramic works into digital media, creating a unique fusion of ceramics and digital art.

Biography

• Birthplace: Chiba Prefecture, Japan
• Education & Experience: Studied under a British artist in Hong Kong in 1990; subsequently worked in Bangkok for about 20 years as a contemporary ceramic artist in an international environment.
• 2016–present: Returned to Japan and continues creating in her studio in Chiba.

Awards

• 2019: Genten Exhibition Newcomer Award
• 2022: Beauty Origins Exhibition Juror’s Award (Ōsugi Prize)
• 2022: Contemporary Art Room Gallery Online Competition “FLORAL” Honor Award
• 2023: Contemporary Art Room Gallery Online Competition “OPEN” Honor Award
• 2023: Asia Peace Art Exhibition Peace Award
• 2025: INFLUENCE GALLERY Online Competition “September Art Competition” Merit Award

Creative Activities

• Over 24 years of activity in Hong Kong and Bangkok, participating in solo and group exhibitions, charity auctions, and commissioned works for hotels and restaurants.
• 2010: Designed tableware for Six Senses Con Dao Resort Hotel.
• Collaborated with Thailand’s Silpakorn University, mentoring graduation projects at Bangkok Japanese School.
• Conducted workshops on ceramics and digital art for international schools and corporations.
• Since 2016, creating both ceramic and digital artworks in Japan.

Selected Exhibitions

International Exhibitions & Solo Shows

• 1992: Selected, Tea Ware Competition, Hong Kong Tea Ware Museum
• 1993: Hong Kong Duo Exhibition “Poetry of Pottery”
• 1994: Joint Exhibition, JAL Gallery & Lumina Gallery, New York
• 2000: Solo Exhibition, GALLERIA 81, Bangkok
• 2006: Solo Exhibition “Kasumi’s Room,” J-Gallery, Bangkok
• 2010: Solo Exhibition “Positive + Grace,” Gossip Gallery, Bangkok
• 2013: Solo Exhibition “Positive Grace 2013,” PEOPLE’S GALLERY, Bangkok

Major Exhibitions in Japan

• 2017: Moegi Shop Exhibition
• 2018: 74th Genten Exhibition, National Art Center, Tokyo
• 2018: Summer Coolness Exhibition, Nihonbashi Mitsukoshi
• 2018: 50th Chiba Genten, Chiba Prefectural Museum of Art
• 2018: 48th Zento Exhibition, Tokyo Metropolitan Art Museum
• 2018: Solo Exhibition “The Gentle Vitality of Life,” Art Space Eumeria, Nihonbashi
• 2019: 75th Genten Exhibition, Newcomer Award
• 2019: 51st Chiba Genten
• 2019: Duo Exhibition “Harmony of Color and Form,” Ginza Gallery of Beauty Origins

Highlights 2020–2025

• 2020: GENTEN New Year Art Exhibition, Ginza
• 2021: NAU 21st Century Art Joint Exhibition, National Art Center, Tokyo
• 2021: Solo Exhibition “Positive + Grace 2021”
• 2022: Japan Digital Art Exhibition (Kyoto, Kawasaki)
• 2022: Kasumi Katagiri Ceramic Art Exhibition, Tokyo American Club
• 2023: Solo Digital Art Exhibition “Kasumi Katagiri Digital Art Exhibition 2023”
• 2023: Asia Peace Art Exhibition, Phnom Penh — Peace Award
• 2024: Solo Exhibition “35 Years of Ceramic & Digital Art,” Keio Plaza Hotel
• 2025: Various Japanese and international exhibitions, including Genten, NAU 21st Century Art Joint Exhibition, Tokyo Cat Art Exhibition

かとうかずみ（Kato Kazumi）

加藤和美（Kazumi Kato）

出生於京都。

畢業於愛知縣立藝術大學美術學部大學院。

自1976年以來，她的創作足跡遍及世界100多個地點。自1984年起，她開始在旅途中，將異國文化與環境的印象或驚喜繪製在明信片上，寄給自己並送回日本，稱之為「現場製作」。

她的「DAY BY DAY」系列涵蓋青銅、素描、繪畫及立體作品等多種媒材，長達40多年持續進行，堪稱其終身創作的重要工作。

近年展覽

2013

• 《加藤和美個展—從零開始的真中》 金屬藝術博物館／千葉

2014

• 《加藤和美個展—かゆきかくゆき》 Gallery砂翁／東京
• 《加藤和美個展—各種各樣的你》 Norton Gallery／東京

2015

• 《加藤和美個展—色之にほへと》 畫廊Door／山口
• 《加藤和美個展—聽見的耳朵》 Norton Gallery／東京

2016

• 《加藤和美展—いろはにホ》 藝術畫廊・繪具箱
• 《加藤和美展—いろのゆかい》 古春堂畫廊
• 《香川・山脈藝術祭2016》 まんのうエピアみかど
• 《花與綠・生命與心展》 昭和紀念公園現代雕刻作家聯盟

2017

• 第1回現代造形作家論壇展 東京都美術館
• 《加藤和美展—キキ耳ヲタテル》 Art Space ひときふたき
• 《加藤和美展—カベノ耳ナル》 Art Space ひときふたき
• 《加藤和美展—カベニ耳ミミアリ》 花みどり文化中心講義室
• 《加藤和美展—いろのおと》 藝術畫廊・繪具箱

2018

• 《加藤和美展—いろいろネ》 GALERIE SOL
• 第1回現代造形作家論壇展 東京都美術館
• 《用藝術描繪田園—香川》
• 《加藤和美展—おといろねいろ》 古春堂畫廊

※另有多次群展參展經歷

Kazumi Kato

Born in Kyoto, Japan.

Graduated from Aichi Prefectural University of the Arts, Graduate School of Fine Arts.

Since 1976, she has traveled to over 100 locations worldwide. From 1984, she began her “on-site production,” in which she drew impressions and surprises from foreign lands with different cultures and environments on postcards and sent them to herself in Japan.

Her “DAY BY DAY” series spans bronze, drawings, paintings, and three-dimensional works, representing a lifelong creative practice continuing for over 40 years.

Recent Exhibitions

2013

• Solo Exhibition: From Zero in the Center Metal Art Museum, Chiba

2014

• Solo Exhibition: Kayuki Kakuyuki Gallery Sunaou, Tokyo
• Solo Exhibition: Various You Norton Gallery, Tokyo

2015

• Solo Exhibition: Iro wa Nihoheto Gallery Door, Yamaguchi
• Solo Exhibition: Kikoe no Mimi Norton Gallery, Tokyo

2016

• Solo Exhibition: Iroha ni Ho Art Gallery Enogu Bako
• Solo Exhibition: Iro no Yukai Koshundo Gallery
• Kagawa Yamanami Art Festival 2016 Manno Epia Mikado
• Flowers and Green, Life and Heart Exhibition Showa Memorial Park Contemporary Sculpture Artists Association

2017

• 1st Contemporary Formative Artists Forum Exhibition, Tokyo Metropolitan Art Museum
• Solo Exhibition: Kiki Mimi wo Tateru Art Space Hitoki Futaki
• Solo Exhibition: Kabe no Mimi Naru Art Space Hitoki Futaki
• Solo Exhibition: Kabe ni Mimi Mimi Ari Hanamidori Culture Center Lecture Room
• Solo Exhibition: Iro no Oto Art Gallery Enogu Bako

2018

• Solo Exhibition: Iroiro Ne GALERIE SOL
• 1st Contemporary Formative Artists Forum Exhibition, Tokyo Metropolitan Art Museum
• Art in the Rice Fields—Kagawa
• Solo Exhibition: Oto Iro Nei Iro Koshundo Gallery

※ Participated in numerous other group exhibitions

金丸順子（Kanemaru Junko）

金丸順子 (Junko Kanamaru) 的藝術家簡介。金丸順子是以東京為中心活躍的抽象藝術家，也是日本重要藝術組織 NAU（21世紀美術連立展） 的核心成員。

藝術家簡介：

金丸順子是一位深具感性的日本當代藝術家，現為 NAU（21世紀美術連立展） 正式會員。她的創作長期聚焦於**「內在風景」與「光影律動」**的轉譯，作品頻繁展出於日本藝術殿堂——國立新美術館，是當代日本抽象畫界中，能將物質性與精神性優雅結合的代表人物之一。

【藝術風格與創作哲學】

金丸順子的作品不追求具象的描摹，而是透過純粹的色彩與層次，構築出一個讓觀者心靈得以安定的視覺場域：

• 感官抽象 (Sensory Abstraction)： 她的筆觸充滿了水分與空氣感，擅長將自然界中不可見的能量（如風的流動、春天的氣息、光的折射）轉化為細膩的色塊與線條。
• 色彩的積染與通透： 透過多層次的顏色堆疊，她的畫布呈現出一種從內部散發出的微光感。這種層次感並非為了表現厚重，而是為了創造出一種透明的深度。
• 生命力的紡織： 如其作品系列《春を紡ぐ》（春之紡），她將色彩視為絲線，在畫布上編織出生命循環的節奏。

【主要展覽經歷】

金丸順子的藝術生涯與日本國家級美術館及學術性企劃展緊密相連：

1. 國家級美術館紀錄

• 2026年（第24回）及2025年（第23回）NAU 21世紀美術連立展： 連續受邀於東京六本木 國立新美術館 (NACT) 展出。在第 23 回展覽中，她以作品《春を紡ぐ》（春之紡）系列獲得高度評價，並負責會場學術接待工作。

2. 藝廊個展與精選企劃展

• 2023年 個展「色彩的音粒」(彩りの音粒)： 於東京舉辦個人畫展，將視覺色彩與聽覺頻率進行跨界結合，展現其對藝術感官的敏銳捕捉。
• HINOKI ANNUAL (2024-2025)： 參加位於中央區的 ギャラリー檜 (Gallery Hinoki) 年度精選展。
• Element 系列企劃展 (2020/2021)： 獲邀參加由 GALLERY AND LINKS 81（原 GALLERY ART POINT）舉辦的當代藝術家選拔展。

3. 台日藝術交流

金丸順子是推動台日藝術對話的重要橋樑，多次與台灣藝術家（如連瑞芬、王穆提等）共同參展，其作品簡歷被收錄於 RUMOTAN（儒墨堂） 國際藝術家資料庫，作為亞洲當代藝術交流的重要參考。

【學術評價】

在當代藝術強調觀念的浪潮中，金丸順子回歸到了繪畫的本質——「光」與「色」。藝評界認為她的作品在「抽象表現主義」與「東方空間觀」之間找到了一種溫柔的平衡，為冷峻的現代建築空間注入了具備溫度的存在力量。

Artist Profile: 

Junko Kanamaru is a highly sensitive contemporary Japanese artist and a formal member of the NAU (21st Century Art Association). Her creative practice has long focused on the translation of "Internal Landscapes" and the "Rhythms of Light and Shadow." Frequently exhibiting at The National Art Center, Tokyo (NACT), she is a representative figure in contemporary Japanese abstract painting, known for elegantly fusing materiality with spirituality.

【Artistic Style and Philosophy】

Instead of pursuing figurative representation, Kanamaru constructs visual fields where the viewer’s soul can find tranquility through pure color and layering.

• Sensory Abstraction: Her brushwork is imbued with a sense of moisture and air, excelling at converting invisible natural energies—such as the flow of wind, the breath of spring, and the refraction of light—into delicate color blocks and lines.
• Layering and Transparency: Through multiple layers of pigment, her canvases manifest a sense of "Internal Luminosity" that seems to radiate from within. This layering is not for the sake of density, but to create a transparent depth.
• The Weaving of Vitality: As seen in her Spinning Spring (Haru wo Tsumugu) series, she treats colors as threads, weaving the cycles of life’s circulation upon the canvas.

【Major Exhibition History】

Kanamaru's artistic career is closely linked with Japan’s top-tier national museums and academic curated exhibitions.

1. National Museum Records

• 24th (2026) and 23rd (2025) NAU 21st Century Art Association Exhibition: Invited to exhibit consecutively at The National Art Center, Tokyo (NACT). In the 23rd exhibition, her series Spinning Spring received high acclaim, and she contributed to the academic reception of the event.

2. Gallery Solo and Selection Exhibitions

• 2023 Solo Exhibition "Grains of Colored Sound" (Iro no Oto Tsubu): Held in Tokyo, this exhibition achieved a cross-sensory synthesis of visual color and auditory frequency.
• HINOKI ANNUAL (2024-2025): Participated in the annual selection exhibition at Gallery Hinoki in Chuo-ku, Tokyo.
• Element Series (2020/2021): Invited to participate in the contemporary artist selection exhibition organized by GALLERY AND LINKS 81 (formerly GALLERY ART POINT).

3. Taiwan-Japan Art Exchange

Kanamaru serves as a vital bridge for artistic dialogue between Taiwan and Japan, frequently exhibiting alongside Taiwanese artists such as Lien Jui-Fen and Wang Muti. Her profile is archived in the RUMOTAN international artist database as a significant reference for contemporary Asian art exchange.

加茂 富美子 (Kamo Fumiko)

1950　出生於富山縣立山町

現居於千葉縣富里市

1971　武藏野美術短期大學

美術科油畫主修 畢業

1975　武藏野美術大學造形學部

雕塑學科 畢業

1978～2015　任職於千葉縣公立中學

擔任美術科教師

在此期間結婚，育有3個孩子、8個孫子

1998　加茂富美子展

（個展，南青山SPACE YUI）

2003　加茂富美子展

（個展，南青山SPACE YUI）

2017　加茂富美子展

（個展，成田Gallery Kai）

2018　加茂富美子展

（個展，銀座Gallery 403）

2019　加茂富美子展

（個展，成田Gallery Kai）

2021　加茂富美子展

（個展，成田Gallery Kai）

2023　加茂富美子展

（個展，成田Gallery Kai）

2022～2024　NAU 21世紀美術連立展

（六本木 國立新美術館）

Personal Information

• 1950: Born in Tateyama Town, Toyama Prefecture, Japan
• Current Residence: Tomisato City, Chiba Prefecture, Japan

Education

• 1971: Musashino Art Junior College, Department of Fine Arts, Major in Oil Painting, Graduated
• 1975: Musashino Art University, Faculty of Fine Arts, Department of Sculpture, Graduated

Career

• 1978–2015: Art Teacher, Public Junior High Schools, Chiba Prefecture
• Married during this period; has 3 children and 8 grandchildren

Selected Solo Exhibitions

• 1998: Tomiko Kamo Solo Exhibition, SPACE YUI, Minami-Aoyama
• 2003: Tomiko Kamo Solo Exhibition, SPACE YUI, Minami-Aoyama
• 2017: Tomiko Kamo Solo Exhibition, Gallery Kai, Narita
• 2018: Tomiko Kamo Solo Exhibition, Gallery 403, Ginza
• 2019: Tomiko Kamo Solo Exhibition, Gallery Kai, Narita
• 2021: Tomiko Kamo Solo Exhibition, Gallery Kai, Narita
• 2023: Tomiko Kamo Solo Exhibition, Gallery Kai, Narita

Public Exhibitions

• 2022–2024: NAU 21st Century Art Joint Exhibition, Roppongi, National Art Center, Tokyo

神田風香（Kanda Fuka）

藝術家簡介：

神田風香是一位成功將**「傳統書道線條」與「當代抽象色彩」**進行跨界融合的日本藝術家。她畢業於 日本書道教育學會 書學院（書道教育學科），深厚的古典書法訓練使她對筆觸的起伏、力度與空間的「留白」有著遠超一般當代藝術家的敏銳直覺。

【藝術風格與創作理念：書道與生命的對話】

神田風香的創作是一場關於**「線條本質」**的探索。她將書法中的「提、按、頓、挫」轉化為色彩的流動：

• 書法底蘊的當代轉化： 儘管她的作品常以鮮豔的色彩呈現，但其核心結構往往源自書法的「骨法」。每一道色彩的邊緣與走向，都隱含著書法家運筆時的氣韻與節奏。
• 情感的色彩構造： 她擅長在熟宣或畫布上透過層次疊加，創造出如同「光影褶皺」般的視覺效果。這種風格在 NAU 展覽中被譽為「具備書道精神的抽象表現」。
• 從微觀到生命的流變： 受到書學院對文字結構嚴謹性的訓練，她對畫面的細微之處有著極致的堅持。作品中細小的色點與線條交織，彷彿在訴說著生命在微觀狀態下的悸動與生成。

【主要展覽經歷】

1. 國家級美術館與學術性展覽

• 2026 年（第 24 回）NAU 21 世紀美術連立展： 於東京六本木 國立新美術館 (NACT) 展出。其作品展現了傳統書道基礎如何支撐起現代藝術的體量感。
• 2025 年（第 23 回）NAU 21 世紀美術連立展： 參展於國立新美術館，其作品因獨特的「線性美學」受到跨文化藝術評論家的關注。

2. 藝廊企劃展與交流

• 2025 年 HINOKI ANNUAL： 參加位於中央區的 ギャラリー檜 (Gallery Hinoki) 年度展。
• 2024 年「新銳藝術家企劃展」： 於銀座 GALLERY AND LINKS 81 展出，展示其將書法線條抽象化的實驗成果。
• 台日藝術交流紀錄： 作為日本當代藝術的新力量，其簡歷收錄於 RUMOTAN（儒墨堂） 資料庫，頻繁與台灣藝術家（如連瑞芬、王穆提等）進行學術性的對話。

Artist Profile: 

Fuka Kanda is a Japanese contemporary artist who masterfully integrates "Traditional Calligraphic Lines" with "Contemporary Abstract Colors." A graduate of the Japan Calligraphy Education Association, Shogakuin (Department of Calligraphy Education), her rigorous classical training provides her with an intuitive sense of stroke dynamics, tension, and "void" space that transcends typical contemporary art.

• Contemporary Transformation of Calligraphic Foundations: While her works are often vibrantly colored, their skeletal structures are derived from calligraphic "bone-work" (Gufa), reflecting the rhythm and Qi of a master calligrapher.
• Emotional Color Composition: She creates visual effects similar to "folds of light and shadow" through layering on Sized Xuan paper or canvas.
• Exhibition History: A frequent exhibitor at The National Art Center, Tokyo (NACT) for the NAU Exhibition. She has also participated in curated exhibitions at Gallery Hinoki and GALLERY AND LINKS 81 in Ginza, showcasing her experimental results in abstracting calligraphy.

グアリノアキ（Guarino Aki）

 
出生於日本富山縣魚津市。
曾在法國美術學校學習藝術，並在歐洲進行創作活動，2019年起回到富山縣展開藝術活動。

主要活動

• 2024 藝術家駐留計畫，土蔵のまち資料館（高岡市）
• 2024 ART/X/TOYAMA in 富山，富山縣民會館
• 2024 旅鳥藝術祭，舊小羽小學（富山市）

作品實例

• 2005 NAU21，國立新美術館（東京）
• 《三隻山羊的嘎啦嘎啦頓》
  材料：紙箱、木工用膠、壓克力顏料
• 美之祭典 越中藝術節2024 優秀獎

Birthplace

• Uozu City, Toyama Prefecture, Japan

Education & Career

• Studied art at a French art school
• Conducted creative activities across Europe
• Since 2019: Returned to Toyama Prefecture and resumed artistic activities

Major Activities

• 2024: Artist-in-Residence Program, Dozo-no-Machi Museum (Takaoka City)
• 2024: ART/X/TOYAMA in Toyama, Toyama Prefectural Civic Hall
• 2024: Tabidori Art Festival, Former Kobane Elementary School (Toyama City)

Selected Works

• 2005: NAU21, National Art Center, Tokyo
• Title: “The Three Billy Goats’ Galagadon”
  • Materials: Cardboard, wood glue, acrylic paint
• 2024: Excellence Award, Beauty Festival — Etchu Art Festival

久保木妃呂子（Kuboki Hiroko）

久保木妃呂子，日本當代視覺藝術家，活躍於東京及關東地區。日本太平洋美術會繪畫部運營委員、會員、東京支部成員，該會成立1889 年，前身為明治藝術協會，是日本第一個西式繪畫團體，超過120年的歷史。，長期參與日本當代美術團體展與國際交流展，並持續發表個人創作。

其作品多以抽象繪畫為主要創作形式，透過色彩、節奏與畫面構成，探索內在感受與情緒狀態的視覺轉化。作品標題常見「想」、「響」、「爽」等語彙，顯示其創作關注於感知、心象與精神層面的回應，試圖在畫面中建立觀者與作品之間的共鳴關係。

久保木妃呂子曾多次參與《日仏現代国際美術展（Salon Blanc）》，於東京都美術館等重要展覽場域展出，亦持續於太平洋美術會年度展中發表新作。其創作風格沉穩而富有節奏感，展現日本當代抽象繪畫中，對於感性與形式之間平衡的細膩追求。

主要展覽經歷（節錄）

• 日仏現代国際美術展（Salon Blanc，多屆參展）｜東京
• 太平洋美術會展｜東京

Kuboki Hiroko is a Japanese contemporary visual artist based in Tokyo and the greater Kanto region.
She serves as an Executive Committee Member and artist of the Painting Division of the Taiheiyo Art Association, and is affiliated with its Tokyo Branch. Founded in 1889, the Taiheiyo Art Association traces its origins to the Meiji Art Association and is recognized as Japan’s first Western-style painting organization, with a history spanning more than 120 years.

Kuboki Hiroko has long been involved in Japanese contemporary art group exhibitions and international exchange exhibitions, while continuously presenting her own individual works.

Her practice primarily focuses on abstract painting, exploring the visual transformation of inner sensations and emotional states through color, rhythm, and compositional structure. Recurring words in her titles—such as Thought, Resonance, and Refreshment—reflect her interest in perception, mental imagery, and spiritual response, aiming to establish a resonant relationship between the artwork and the viewer.

She has participated multiple times in the Japan–France Contemporary International Art Exhibition (Salon Blanc), exhibiting at major venues including the Tokyo Metropolitan Art Museum, and continues to present new works in the annual exhibitions of the Taiheiyo Art Association.
Her work is characterized by a calm yet rhythmic visual language, demonstrating a refined pursuit of balance between sensibility and form within contemporary Japanese abstract painting.

Selected Exhibitions

• Japan–France Contemporary International Art Exhibition (Salon Blanc, multiple participations)｜Tokyo
• Taiheiyo Art Association Exhibition｜Tokyo

栗原 光峯 (KURIHARA Koho)  

1964年

• 出生於福岡縣北九州市小倉。（實際上是左撇子）

1971年

• 在住家附近的書法教室開始學習書法，用右手持筆。（師從安部光鄉老師）

1984年

• 師從森士鄉老師。

1988年

• 結婚。

1990年

• 獲得北九州書道會師範資格。
• 長女出生。

1993年

• 次女出生。

1994年

• 開設自己的書法教室。

2001年

• 於門司港酒店舉辦「花、音樂與書法，夢幻聯名晚宴」。
• 於法國土魯斯舉辦書法工作坊及現場表演。

2004年

• 於小倉麗嘉皇家酒店舉辦個展「實現夢想親子展～追求花與書的調和～」。花藝合作：田島春晃。

2006年

• 於Hit Gallery舉辦「工藝、花與書法作品展」。

2008年

• 於第一花壇Gallery舉辦「拼布與書法作品展」。
• 於北九州文學館參與「みずかみかずよ展」（水上和代展）。

2009年

• 於法國土魯斯與Marette RENAUDIN（花藝）、高橋利道（陶藝）兩位藝術家共同舉辦「花、器與書法作品展」及現場書法表演。

2011年

• 設立「和樂書院」。
• 於八幡市民會館為東日本大地震舉辦慈善書法表演。

2012年

• 於Gallery椿舉辦「地球的旋律～大地的鼓動～作品展」。

2013年

• 於法國土魯斯舉辦「花與書法作品展」及日本歌曲與書法表演。花藝：Marette RENAUDIN，演唱：栗原みのり。
• 於北九州市民Gallery舉辦「和樂書院 第二回師生展」。

2014年

• 入選於東京國立新美術館舉辦的「第15回日法現代美術世界展」。

2015年

• 開設個人工作室。於「和樂工作室」舉辦第三回和樂書院師生展。
• 5月：榮獲「比利時・荷蘭美術賞展」優秀賞，並於當地舉辦工作坊及書法表演，作品捐贈給比利時的美術學校。
• 11月：參加「第29回巴黎國際沙龍展」。

2016年

• 2月：參展於福岡亞洲美術館舉辦的「第5回21世紀書畫作家國際交流展in福岡」。
• 3月：參展「亞洲美術招待展」，並成為日本文化藝術研究會會員。
• 4月：熊本地震後，於各地進行慈善支援活動。舉辦慈善作家展，並成立支援團體「宙SORA之會」。
• 成為JIAS（日本美術家國際協會）會員。
• 6月：參展法國「科西嘉美術賞展」個展部門，並於當地舉辦工作坊及書法表演，作品捐贈給各市市長與策展人。
• 10月：參加日韓文化交流「River Link Project」，於首爾的領事館進行書法表演（由大韓民國駐福岡總領事館後援）。
• 12月：參展「巴黎國際沙龍展」個展部門，於Galerie du Marais展出並榮獲優秀賞。

2017年

• 3月：於法國土魯斯舉辦「花與書法作品展」及現場書法表演。
• 6月：參展義大利「西西里美術賞展」，並於當地舉辦工作坊及書法表演。
• 10月：於北九州CUBE Gallery參展日韓文化交流「River Project」。
• 10月：入選「秋季沙龍展（Salon d'Automne）」，作品於巴黎香榭麗舍大道展出。
• 11月：作品《瞠目》於法國土魯斯市立喬治・拉比博物館進行為期半年的常設展覽，並於開幕式進行書法表演。
• 11月：參展「巴黎國際沙龍展」個展部門，作品《流》（生生流轉）於Galerie du Marais展出並榮獲「Zacchi賞」。

2018年

• 2月：於韓國榮獲「韓國美術協會理事長賞」（最高賞）。
• 3月：於「紀念中日和平友好條約締結40周年國際書畫展」榮獲「中華人民共和國駐福岡總領事館賞」（最高賞）。
• 4月：於門司區松浦邸舉辦「～櫻花盛開之日～書法與藝術」活動。
• 5月：於門司區平山觀音院進行書法表演。
• 5月：參展西班牙「西班牙美術賞展」個展部門，並於當地舉辦工作坊及書法表演。
• 6月：於臥龍山西宗寺與漫談家神田紅花、爵士鋼琴家上野香織共同演出書法表演。
• 8月：於北九州市立美術館分館舉辦第五回和樂書院師生展及栗原光峯書法作品展。
• 10月：入選「2018秋季沙龍展」，作品《抱擁》於巴黎香榭麗舍大道展出。

2019年

• 2月：參展「巴黎國際沙龍展」個展部門，作品《諸行無常（五聯作）》、《是》於Espace Commines展出。
• 2月：與德國影像藝術家Lichtb Gaden共同演出。
• 2月：入選「Le Salon」展，作品《抱擁-Asia》於巴黎大皇宮展出。
• 3月：於美國佛羅里達進行書法表演。
• 4月：於奈良聖林寺，在十一面觀音像背光研究者池田久美子演講之際，於梵鐘下進行奉納揮毫。
• 5月：參展「2019芬蘭美術賞展」個展部門，榮獲《Buddha》優秀賞。
• 5月：於福岡田川郡「魚樂園」進行慈善表演。
• 於東京國立新美術館「雪舟展」榮獲大賞，作品名《抱擁-asia》。
• 7月：作品《黎明》參展「日光東照宮奉納美術展覽會」。
• 11月：於北九州市立篠崎中學70周年紀念活動進行表演。

2020年

• 3月：父親去世。
• 參展「西班牙美術賞展」7件作品，榮獲準大賞，並將2件大型作品捐贈給科米利亞斯市。
• 5月：於到津八幡神社進行「惡疫退散」、「無病息災」、「地平天成」等主題的奉納揮毫。
• 7月：參與NPO法人「抱樸」的群眾募資活動，誕生「書法格爾尼卡」作品。
• 參與「東亞文化都市北九州」藝術家影片，進行線上播映。

2021年

• 於福岡亞洲美術館「第4回國際書畫展」榮獲福岡縣知事賞，作品名《無一物》。
• 10月：於小倉城竹あかり茶室進行表演。
• 與北九州的藝術家共同創立「北九州藝術圖鑑」。
• 12月：於北九州藝術劇場開幕演出中，與二胡演奏家程璧（Chen Min）共同表演。

2022年

• 5月：於福岡市早良區Gallery花うさぎ舉辦個展及表演。
• 9月：於長崎和平公園進行和平揮毫，作品《以和為貴》於原爆資料館展出兩個月。
• 10月：舉辦個展，並開始每年秋季於篆刻喫茶Don舉辦個展。
• 11月-12月：作為日本書法家代表，參與法國奧克西塔尼大區「日法友好節」期間的6項活動。
• 12月：於響Hall舉辦「北九州藝術圖鑑」第二次公演《諸行無常》，與爵士鋼琴家山下洋輔等藝術家合作。

2023年

• 2月：於長崎浦上天主堂進行和平揮毫，作品《如己愛人》現存於長崎聖福寺。
• 3月：於宮崎高千穗與藝術家共同創作《風與龍》。
• 5月：於到津八幡神社進行「五穀豐穰」、「萬民和樂」奉納揮毫。
• 5月：於「第2回TOKYO世界展-巴黎2023-」榮獲大賞，作品名《行雲》。
• 6月：於北九州市立美術館參與舉辦「お天道さんの見とらす展－三人の描く仏様－」。
• 8月：於銀座Gallery志門參展「書法家による抽象表現展」。
• 10月：於小倉城竹あかり茶室進行書法表演。
• 10月起至2024年4月：舉辦光峯花甲紀念「辰・竜・龍個展」系列月度展。

2024年

• 1月：入選「秋季沙龍展」，作品《宇宙樹》。
• 2月：向到津八幡神社奉納作品《魚化龍》。
• 2月：連續三年（2022-2024）入選「NAU21世紀美術連立展」，並成為會員。
• 3月：與北井畫廊簽約，進行數位作品展出。於平山觀音院進行慈善表演。
• 3月：於北九州市水環境館慈善音樂會與和樂書院學生共同演出。
• 3月：入選「巴黎國際沙龍展」，長卷作品《古壺新酒》。
• 4月：於大阪和宗總本山四天王寺進行奉納揮毫。
• 4月：於長崎縣美術館「兒童格爾尼卡」活動進行開幕書法表演。
• 5月：於永明寺經職法要進行書法表演。
• 第六次入選「秋季沙龍展」，成為正式會員。

Personal Information

• 1964: Born in Kokura, Kitakyushu, Fukuoka, Japan (actually left-handed)
• 1971: Began studying calligraphy at a nearby calligraphy school (writing with right hand). Teacher: Mitsuaki Abe
• 1984: Studied under Morishikyo
• 1988: Married
• 1990: Received Kitakyushu Calligraphy Association Instructor License; first daughter born
• 1993: Second daughter born
• 1994: Opened own calligraphy school

Major Activities & Solo Exhibitions

• 2001: Moji Port Hotel “Flower, Music & Calligraphy Dream Collaboration Dinner”; Toulouse, France: calligraphy workshops & live performance
• 2004: Solo Exhibition at Kokura Rihga Royal Hotel “Dreams Come True Parent & Child Exhibition ~Harmony of Flowers and Calligraphy~”, Flower Design: Haruaki Tajima
• 2006: Hit Gallery “Crafts, Flowers & Calligraphy Exhibition”
• 2008: Dai-ichi Kadan Gallery “Patchwork & Calligraphy Exhibition”, Kitakyushu Literature Museum “Kazuyo Mizukami Exhibition”
• 2009: Toulouse, France “Flowers, Ceramics & Calligraphy Exhibition”, Collaboration: Marette RENAUDIN (Floral), Toshimichi Takahashi (Ceramics)
• 2011: Founded “Waraku Shoin”, charity calligraphy performance for Tohoku earthquake at Yahata Civic Hall
• 2012: Gallery Tsubaki “Melody of the Earth ~Heartbeat of the Land~”
• 2013: Toulouse, France “Flowers & Calligraphy Exhibition” with Japanese songs & calligraphy performance; Waraku Shoin 2nd Teacher-Student Exhibition in Kitakyushu
• 2014: Selected for the 15th Japan-France Contemporary Art World Exhibition, National Art Center, Tokyo

International Exhibitions & Awards

• 2015: Opened personal studio; Waraku Studio 3rd Teacher-Student Exhibition; Belgium & Netherlands Art Prize Exhibition Excellence Award, workshop & performance, donated works to Belgian art school; 29th Paris International Salon
• 2016: 5th 21st Century Calligraphy Artists International Exchange Exhibition in Fukuoka, Asia Art Invitational, Japan Cultural Arts Research Association member, Kumamoto earthquake support & charity exhibition, founded “Sora SORA Association”, JIAS member, Corsica Art Prize Exhibition solo, River Link Project in Seoul, Paris International Salon solo exhibition Excellence Award
• 2017–2024: Numerous solo & group exhibitions, workshops, calligraphy performances across France, Italy, Korea, Spain; Salon d’Automne selections; long-term exhibitions; charity, peace calligraphy, international cultural exchange
• 2020: Father passed away; Spain Art Prize Exhibition Second Grand Prize; donated works; ceremonial calligraphy at Tojuhachiman Shrine; created Calligraphy Guernica
• 2021: Fukuoka Asian Art Museum 4th International Calligraphy Exhibition Fukuoka Governor Prize (work “Nothingness”), co-founded Kitakyushu Art Archive, collaborated with Erhu musician
• 2022–2024: Solo exhibitions, charity & peace calligraphy, annual autumn solo at Tenkoku Don, participated in France Occitanie “Japan-France Friendship Festival”, Kitakyushu Art Archive 2nd performance
• 2023: Peace calligraphy at Nagasaki Urakami Cathedral, collaborative creation in Miyazaki Takachiho, ceremonial calligraphy at Tojuhachiman Shrine, major international exhibition awards, calligraphy performances in Tokyo & Osaka
• 2024: Autumn Salon Exhibition selection, Tojuhachiman Shrine donation, NAU 21st Century Art Joint Exhibition selection, Kitai Gallery digital exhibition, series of commemorative solo exhibitions “Dragon Series”

桑山真麻弓（Kuwayama Mayumi）

Mayumi Kuwayama / ART&DESIGN STUDIO Ku-House

有機氛圍藝術家

她是一位現代藝術家及空間設計師。學生時期發表的裝置藝術作品成為契機，開始受到各種企業、店鋪及飯店的室內裝飾邀請，並成立了專門從事店鋪裝飾與空間演出設計的「感響創造クーハウス」。

近年來，由於其獨一無二、跨越各種藝術類型的表現力與風格，作品受到來自多個國家的關注。

她的裝置藝術強調空間意識，使用各種纖維及植物素材，追求讓人與自然融合的感官體驗，持續進行創作。

在空間設計中，她始終讓人作為空間的主角，創造出人與空間相互共鳴的世界觀。

主要獲獎紀錄

• 2009年：保鮮花世界大賽裝置藝術部門第一名
• 2011年：御堂筋燈光秀拍攝景點裝置最優秀賞（「大阪優秀設計100選」）
• 2019年：MILANO GENIUS（米蘭設計週）兩件作品獲獎（義大利）
• 聖彼得堡國際花卉節第一名（俄羅斯）

創作理念

「人是相同的，但同時又是獨特的。每個人都有自己的世界觀與氣場。因為你的愛，我的作品才得以完整。」

桑山真麻弓/ 感響創造クーハウス

畢業於大阪藝術大學工藝學科，專注於創造人與地球自然及其能量共鳴共存的空間，有機空間藝術家。

主要個展

2024

• 「桑山真麻弓展　Forest—在森林中，朝光前行」Klein Blue Gallery & Cafe Bar（東京）
• 「桑山真麻弓展　Seeds of Beginning—開始的開始」日本橋高島屋S.C.本館6樓 美術畫廊 WALL NEXT（東京）
• 「CLOUDS in Kura」Art & Crafts Gallery gobangura 柿落し企劃個展 招待作家（京都）
• 「CLOUDS」Mayumi Kuwayama Solo Exhibition Esther Okada Art Gallery（東京）

2023

• 「Clouds, Time and Memory」Mayumi Kuwayama Solo Exhibition a&w GALLERY（大阪）

2022

• 「Forest」Mayumi Kuwayama Solo Exhibition 中和畫廊（東京）

2021

• 「Feel the Earth」Mayumi Kuwayama Solo Exhibition +CASA北野坂店（神戶）

2012・2013

• 「INOCCHIの循環」「Prayers～祈禱的時刻」Art 美空間 Saga（神戶）

2011

• 「I・T・O・N・A・M・I」TOYO KITCHEN STYLE（大阪／神戶）

1996

• 個展 異人館俱樂部 PartⅡ（神戶・北野）

主要群展

2025

• 「GALLERY HiURA OPEN EXHIBITION」（兵庫）
• 「harmonie」Van GOGH Art Gallery（馬德里）
• 「NAU21世紀美術連立展」國立新美術館（東京）

2024

• 「PescarArt Award 2024」（義大利）
• 「三個房間 2024 “桑山真麻弓＋藤田雄大＋濱雅則”」City Gallery 2320（兵庫）
• 「第5回 現在美術絕對展」兵庫縣立美術館分室原田之森畫廊（兵庫）
• 「NAU21世紀美術連立展」國立新美術館（東京）

2023

• 「Kawanishi Art Project 2023 -With-」招待作家（兵庫）

2022

• 「The 2nd GLOBAL ART FAIR SINGAPORE 2022」（新加坡）
• +CASA×阪急百貨「Autumn Interior Fair」招待藝術家 高槻阪急百貨店（大阪）
• 「第25回國際公開徵件 Art 未來展」國立新美術館（東京）

2022 / 2023

• 「ONE DROP展」（東京）
• 「NAU21世紀美術連立展」推薦作家 國立新美術館（東京）

2022

• 「東大阪國際藝術展」招待作家（大阪）

2021 / 2022

• 「ANY KOBE」招待作家（神戶）

2021

• 貝多芬誕生250周年紀念「美與音樂的饗宴」Haus der Evangelischen Kirche（德國）
• 「第19回 NAU21世紀美術連立展」國立新美術館（東京）
• 「ART ROOMS TOYONAKA」豐中市主辦 招待作家（大阪）

2020

• 「Mission Ⅰ」Gallery Art Point 企劃展（東京）

2019

• 「嶋本昭三×AU」Exhibition 2019 “Vibrant” H Queenʼs（香港）
• 「A Bridge to JAPANESE ART」英國王室美術家協會 RBA 出展（英國）
• 聖彼得堡國際花卉節 日本代表（俄羅斯）
• MILANO GENIUS（Milano Design Week 2019）2件作品獲獎（義大利）
• 「ART LOVES CAFE CAFE LOVES ART / AU」中之島大廈（大阪）

2019 / 2020 / 2022 / 2023

• 「ZETTAI展」兵庫縣立美術館王子分室（神戶）

2018

• 「Pescara Art 2018」Museo dʼArte Modena PescarArtEvoluzioni 招待作家（義大利）
• 茶屋町 Slow Day 1000000人燭光之夜（大阪）
• 「DESIGN Reflection」JID 60周年紀念專案（大阪）

2018 / 2019 / 2020 / 2021 / 2022 / 2023

• 「現代藝術國際 AU 展」

2017

• 「Nel Segno e Nei Colori」Museo dʼArte Modena “Vittoria Colonna” PescarArtEvoluzioni 招待作家（義大利）

2016 / 2017

• 「Con Carta Giapponese TuTuMu Exhibition 5th in Milano」（義大利）

2015

• 「DESIGNER SHOW HOUSE at KOBE RISA BRAIRE」神戶雙年展協辦（神戶）

2012

• 「SAKURA COLLECTION 2012」關西國際機場（大阪）

2010 / 2011 / 2012

• 世界文化遺產 清水寺燈光秀奉納作品（京都）

1997

• 感響創造クーハウス成立展 Exhibition 異人館俱樂部 PartⅡ（神戶・北野）

主要獲獎紀錄

2022

• 第25回國際公開徵件 Art 未來展 秀作獎

2021 / 2022 / 2023

• 盧森堡藝術獎（Luxembourg Art Prize）藝術功勞證書授予（盧森堡）

2019

• 聖彼得堡國際花卉節 第1名（俄羅斯）
• MILANO GENIUS（Milano Design Week）2件作品獲獎（義大利）

2018

• 茶屋町 Slow Day 1000000人燭光之夜 第2名

2015

• LIVING & DESIGN 2015 專案「ISU and KAGU-TEN 2015」第1名

2014

• LIVING & DESIGN 2014 專案「ISU-TEN 2014」第3名

2011

• 御堂筋燈光秀拍攝景點裝置 最優秀獎（大阪優秀設計100選）

2009

• 保鮮花世界大賽裝置藝術部門 第1名

作品刊載書籍

• 《Exit Urban Magazine》2020年9月（義大利）
• 《DESIGN SUPER SHOW-2000/2020》evoluzione e mise en-scène del design al Superstudio di Milano（義大利）
• 《美與音樂的饗宴》貝多芬誕生250周年紀念作品集
• 《DESIGNERʼS FILE 2020 / 2021 / 2022 / 2023 / 2024》

Mayumi Kuwayama / ART&DESIGN STUDIO Ku-House

Organic Atmosphere Artist

She is a contemporary artist and spatial designer. Her installation artworks presented during her student years became a turning point, leading to invitations from various companies, shops, and hotels for interior decoration. She subsequently established ART&DESIGN STUDIO Ku-House, specializing in shop decoration and spatial performance design.

In recent years, her unique and cross-disciplinary artistic expression and style have attracted attention from multiple countries.

Her installations emphasize spatial awareness, using various fibers and plant materials to create immersive experiences that blend humans with nature. In her spatial design, she consistently places people as the protagonists, creating a worldview where humans and space resonate with each other.

Major Awards

• 2009: Preserved Flower World Competition, Installation Art Category, 1st Prize
• 2011: Midosuji Light-Up Photography Spot Installation, Excellence Award (“100 Best Designs of Osaka”)
• 2019: MILANO GENIUS (Milan Design Week), 2 works awarded (Italy)
• St. Petersburg International Flower Festival, 1st Prize (Russia)

Artistic Philosophy

"People are the same, yet unique. Each person has their own worldview and aura. Through your love, my works are completed."

Mayumi Kuwayama / ART&DESIGN STUDIO Ku-House

Graduated from Osaka University of Arts, Department of Crafts. Focused on creating spaces that resonate and coexist with humans and the natural energy of the Earth. Organic space artist.

Selected Solo Exhibitions

2024

• “Forest—Walking Toward Light in the Forest” Klein Blue Gallery & Cafe Bar (Tokyo)
• “Seeds of Beginning—The Beginning of Beginning” Nihonbashi Takashimaya S.C. Main Building 6F Art Gallery WALL NEXT (Tokyo)
• “CLOUDS in Kura” Art & Crafts Gallery gobangura, invited artist (Kyoto)
• “CLOUDS” Mayumi Kuwayama Solo Exhibition, Esther Okada Art Gallery (Tokyo)

2023

• “Clouds, Time and Memory” Mayumi Kuwayama Solo Exhibition, a&w GALLERY (Osaka)

2022

• “Forest” Mayumi Kuwayama Solo Exhibition, Chuwa Gallery (Tokyo)

2021

• “Feel the Earth” Mayumi Kuwayama Solo Exhibition, +CASA Kitanozaka Store (Kobe)

2012・2013

• “INOCCHI’s Cycle” / “Prayers – Moment of Prayer” Art Bikuukan Saga (Kobe)

2011

• “I・T・O・N・A・M・I” TOYO KITCHEN STYLE (Osaka/Kobe)

1996

• Solo Exhibition, Ijinkan Club Part II (Kobe/Kitano)

Selected Group Exhibitions

2025

• “GALLERY HiURA OPEN EXHIBITION” (Hyogo)
• “harmonie” Van GOGH Art Gallery (Madrid)
• “NAU 21st Century Art Joint Exhibition” National Art Center (Tokyo)

2024

• “PescarArt Award 2024” (Italy)
• “Three Rooms 2024: Kuwayama Mayumi + Fujita Yudai + Hama Masanori” City Gallery 2320 (Hyogo)
• “5th Present Contemporary Absolute Art Exhibition” Hyogo Prefectural Museum of Art, Harada-no-Mori Gallery (Hyogo)
• “NAU 21st Century Art Joint Exhibition” National Art Center (Tokyo)

2023

• “Kawanishi Art Project 2023 -With-” Invited Artist (Hyogo)

2022

• “The 2nd GLOBAL ART FAIR SINGAPORE 2022” (Singapore)
• +CASA×Hankyu Autumn Interior Fair, invited artist Takatsuki Hankyu Department Store (Osaka)
• “25th International Open Call Art Future Exhibition” National Art Center (Tokyo)

2022 / 2023

• “ONE DROP Exhibition” (Tokyo)
• “NAU 21st Century Art Joint Exhibition” Recommended Artist, National Art Center (Tokyo)

2022

• “Higashiosaka International Art Exhibition” Invited Artist (Osaka)

2021 / 2022

• “ANY KOBE” Invited Artist (Kobe)

2021

• Beethoven 250th Anniversary “Feast of Beauty and Music” Haus der Evangelischen Kirche (Germany)
• “19th NAU 21st Century Art Joint Exhibition” National Art Center (Tokyo)
• “ART ROOMS TOYONAKA” Invited Artist, Toyonaka City (Osaka)

2020

• “Mission I” Gallery Art Point, curated exhibition (Tokyo)

2019

• “Shimamto Shozo × AU” Exhibition 2019 “Vibrant” H Queen’s (Hong Kong)
• “A Bridge to JAPANESE ART” Royal Society of British Artists RBA (UK)
• St. Petersburg International Flower Festival, Japanese Representative (Russia)
• MILANO GENIUS (Milan Design Week 2019), 2 works awarded (Italy)
• “ART LOVES CAFE CAFE LOVES ART / AU” Nakanoshima Building (Osaka)

2019 / 2020 / 2022 / 2023

• “ZETTAI Exhibition” Hyogo Prefectural Museum of Art, Oji Annex (Kobe)

2018

• “Pescara Art 2018” Museo d’Arte Modena PescarArtEvoluzioni, invited artist (Italy)
• Chayamachi Slow Day 1,000,000 Candle Night (Osaka)
• “DESIGN Reflection” JID 60th Anniversary Project (Osaka)

2018–2023

• “Contemporary Art International AU Exhibition”

2017

• “Nel Segno e Nei Colori” Museo d’Arte Modena “Vittoria Colonna” PescarArtEvoluzioni, invited artist (Italy)

2016 / 2017

• “Con Carta Giapponese TuTuMu Exhibition 5th in Milano” (Italy)

2015

• “DESIGNER SHOW HOUSE at KOBE RISA BRAIRE” Kobe Biennale Co-Organizer (Kobe)

2012

• “SAKURA COLLECTION 2012” Kansai International Airport (Osaka)

2010–2012

• World Cultural Heritage Kiyomizu-dera Light-up Dedication Works (Kyoto)

1997

• ART&DESIGN STUDIO Ku-House Establishment Exhibition, Ijinkan Club Part II (Kobe/Kitano)

Major Awards

• 2022: 25th International Open Call Art Future Exhibition, Excellence Award
• 2021–2023: Luxembourg Art Prize, Certificate of Merit (Luxembourg)
• 2019: St. Petersburg International Flower Festival 1st Prize (Russia), MILANO GENIUS 2 works awarded (Italy)
• 2018: Chayamachi Slow Day 1,000,000 Candle Night, 2nd Place
• 2015: LIVING & DESIGN 2015 Project “ISU and KAGU-TEN 2015” 1st Place
• 2014: LIVING & DESIGN 2014 Project “ISU-TEN 2014” 3rd Place
• 2011: Midosuji Light-Up Photography Spot Installation, Excellence Award (“100 Best Designs of Osaka”)
• 2009: Preserved Flower World Competition, Installation Art Category, 1st Prize

Works Published in Books

• Exit Urban Magazine, September 2020 (Italy)
• DESIGN SUPER SHOW-2000/2020, evoluzione e mise en-scène del design al Superstudio di Milano (Italy)
• Feast of Beauty and Music, Beethoven 250th Anniversary Commemorative Collection
• DESIGNER’S FILE 2020 / 2021 / 2022 / 2023 / 2024

香西洋子（Kozai Yoko）

藝術家簡介： 

香西洋子是一位深耕於**「物質性與空間辯證」**的日本當代藝術家。作為 NAU（21世紀美術連立展） 的資深會員，她的創作不僅是視覺色彩的排列，更是對建築空間、光影穿透與心理深度之間關係的一場持續性探討。她擅長透過對材質的層層堆疊與去蔽，轉譯那些不可見的感官頻率。

【藝術風格與創作理念：空間的現象學】

香西洋子的藝術語彙展現了日本現代美學中關於**「間（Ma）」與「層次（Layering）」**的獨特體悟：

• 空間的深度與層次構造：她的作品並非平面上的平面，而是透過多次顏料的交替疊加、磨蝕與覆蓋，在二維畫布上創造出一個具備「物理厚度」的視覺深度。觀者往往能在其作品中感受到一種由色彩內部「滲透」而出的微光，這與海德格（Heidegger）所述的「澄明（Lichtung）」概念產生了微妙的共鳴。
• 簡約與力量的張力：她的構成往往在極簡的幾何形態中隱含著自然的波動。這種理性的制約與感性的律動並存，賦予了作品一種內斂的張力。她不依賴宏大的敘事，而是純粹透過色塊的邊界、密度的落差，來引發觀者對存在本體的思考。
• 場域的共生性：作為 NAU 的領軍藝術家之一，她非常強調作品與環境的互動。在國立新美術館這類波浪狀、冷峻的現代建築場域中，她的作品能以其穩定的色彩場域（Color Field），有效地中和環境的喧囂，為觀者提供一個精神沈思的「空之容器」。

【主要展覽經歷】

香西洋子的藝術生涯紀錄與日本當代藝術的學術脈絡同步推進：

1. 國家級美術館與學術性連展

• 2026年（第24回）NAU 21世紀美術連立展：受邀於 國立新美術館 (The National Art Center, Tokyo) 展出最新系列作品。
• 2025年（第23回）NAU 21世紀美術連立展：於國立新美術館展現其對空間構成的精準掌控力。
• 歷屆 NAU 年度大展：作為協會骨幹，長期參與於六本木藝術圈，推動日本當代美術的跨界對話與形式創新。

2. 指標性藝廊與企劃展

• ギャラリー檜 (Gallery Hinoki, Tokyo)：多次參加位於中央區的年度選拔展（如 HINOKI ANNUAL），該畫廊是日本推動抽象藝術與現代書道融合的重要據點。
• Art Gallery Yamate（橫濱）：曾舉辦以「花卉與空間」或特定主題的個人展演，展現其從具象經驗中抽離出抽象詩意的轉化能力。
• GALLERY AND LINKS 81 (銀座)：參與高階當代藝術企劃展，在商業畫廊體系中展現其堅實的學術質感。

【學術定位：視覺詩意的轉譯者】

藝評界普遍將香西洋子定位為一位**「追求定靜力量的視覺詩人」。在 NAU 這種強調「異質共生」與「連立」的平台上，她的作品代表了一種回歸物質本源、探討光影本質的定力。透過她的畫筆，色彩不再只是裝飾，而是成為了一種「存在座標」**，在混亂的當代視覺中，確立了屬於東方哲學的寂靜與圓滿。

Artist Biography:

Yoko Kasai is a contemporary Japanese artist whose work is deeply rooted in "Materiality and Spatial Dialectics." As a senior member of the NAU (21st Century Art Association), her practice transcends the simple arrangement of visual colors, serving instead as a continuous exploration of the relationship between architectural space, the penetration of light, and psychological depth. She excels at translating invisible sensory frequencies through the meticulous layering and "unconcealment" of materials.

【Artistic Style and Philosophy: The Phenomenology of Space】

Kasai’s artistic vocabulary reflects a unique understanding of the Japanese aesthetic concepts of "Ma" (Space-time void) and "Layering."

• Spatial Depth and Layered Construction: Her works are not merely planes upon planes; through repeated overlapping, abrasion, and covering of pigments, she creates a visual depth on a two-dimensional canvas that possesses "physical thickness." Viewers often sense a faint light "permeating" from within the colors, creating a subtle resonance with Martin Heidegger’s concept of Lichtung (The Clearing).
• The Tension of Simplicity and Power: Her compositions often hide natural fluctuations within minimalist geometric forms. The coexistence of rational restraint and emotional rhythm imparts an introverted tension to the work. eschewing grand narratives, she invites viewers to contemplate the essence of existence purely through the boundaries of color fields and variations in density.
• Symbiosis of Site: As a leading artist within NAU, she emphasizes the interaction between her work and the environment. Within the wavy, austere modern architecture of The National Art Center, Tokyo (NACT), her works utilize stable Color Fields to effectively neutralize environmental noise, providing a "vessel of emptiness" for spiritual meditation.

【Major Exhibition History】

Yoko Kasai’s artistic career has progressed in tandem with the academic pulse of contemporary Japanese art:

1. National Museums and Academic Exhibitions
   • 2026 (24th) NAU 21st Century Art Association Exhibition: Invited to exhibit her latest series at The National Art Center, Tokyo (NACT).
   • 2025 (23rd) NAU 21st Century Art Association Exhibition: Demonstrated her precise mastery of spatial composition at NACT.
   • Annual NAU Exhibitions: As a core member, she has long participated in the Roppongi art circle, promoting cross-disciplinary dialogue and formal innovation in contemporary Japanese art.
2. Key Galleries and Curated Projects
   • Gallery Hinoki (Tokyo): Frequent participant in annual selection exhibitions (e.g., HINOKI ANNUAL) at this hub for the fusion of abstract art and modern calligraphy.
   • Art Gallery Yamate (Yokohama): Held solo exhibitions themed around "Flowers and Space," showcasing her ability to distill abstract poetics from concrete experiences.
   • GALLERY AND LINKS 81 (Ginza): Participated in high-end contemporary art projects, maintaining a solid academic texture within the commercial gallery system.

【Academic Standing: A Translator of Visual Poetics】

The art critique community generally defines Yoko Kasai as a "Visual Poet pursuing the power of stillness." Within the NAU platform, which emphasizes "heterogeneous symbiosis" and "coalition," her work represents a return to material origins and a focused determination to explore the essence of light and shadow. Through her brush, color is no longer mere decoration but becomes a "Coordinate of Existence," establishing a sense of silence and fulfillment rooted in Eastern philosophy amidst the chaotic visual landscape of the contemporary era.

コスター  理穂(Coster Riho)

2000　畢業於 武藏野美術大學 造形學部 油畫科

2000-2002　留學於 摩洛哥國立美術學校 (Institut National des Beaux-Arts, Tétouan)

【個展】

2006　Nabis畫廊（銀座）

2017　Kichijoji Gallery（吉祥寺）

2018　Gallery HINOKI（京橋）

2020　Gallery HINOKI（京橋）

2022　Gallery HINOKI（京橋）

2024　Gallery HINOKI（京橋）

【聯展】

2002　雙人展，Oudaya Gallery（拉巴特，摩洛哥）

2004　fu’s gallery（狛江）

2004　雙人展，BLOOMOON（吉祥寺）

2005　雙人展，東京大清真寺（代代木上原）

2019　「—以單色調呈現—」展，Gallery HINOKI（京橋）

2019　「開朗的諦念」展，Gallery HINOKI（京橋）

2021　「線與時間」展，Gallery HINOKI（京橋）

2022　「反烏托邦思考」展，Gallery HINOKI（京橋）

2023　「書與藝術的對話」展，Gallery HINOKI（京橋）

2023　NAU 21世紀美術連立展（國立新美術館，六本木）

2024　NAU 21世紀美術連立展（國立新美術館，六本木）

【其他】

2009　為Gakken出版社雜誌《早安太太》繪製插圖

2018　為繪本《連結的過程》繪製插畫

Education

• 2000: Graduated from Musashino Art University, Department of Fine Arts, Major in Oil Painting
• 2000–2002: Studied abroad at Institut National des Beaux-Arts, Tétouan, Morocco

Solo Exhibitions

• 2006: Nabis Gallery (Ginza, Tokyo)
• 2017: Kichijoji Gallery (Kichijoji, Tokyo)
• 2018: Gallery HINOKI (Kyobashi, Tokyo)
• 2020: Gallery HINOKI (Kyobashi, Tokyo)
• 2022: Gallery HINOKI (Kyobashi, Tokyo)
• 2024: Gallery HINOKI (Kyobashi, Tokyo)

Group Exhibitions & Joint Shows

• 2002: Two-person exhibition, Oudaya Gallery (Rabat, Morocco)
• 2004: fu’s gallery (Komae, Tokyo)
• 2004: Two-person exhibition, BLOOMOON (Kichijoji, Tokyo)
• 2005: Two-person exhibition, Tokyo Grand Mosque (Yoyogi-Uehara, Tokyo)
• 2019: “—Expression in Monochrome—” Exhibition, Gallery HINOKI (Kyobashi, Tokyo)
• 2019: “Cheerful Resignation” Exhibition, Gallery HINOKI (Kyobashi, Tokyo)
• 2021: “Line and Time” Exhibition, Gallery HINOKI (Kyobashi, Tokyo)
• 2022: “Dystopian Thoughts” Exhibition, Gallery HINOKI (Kyobashi, Tokyo)
• 2023: “Dialogue between Calligraphy and Art” Exhibition, Gallery HINOKI (Kyobashi, Tokyo)
• 2023: NAU 21st Century Art Joint Exhibition, National Art Center, Roppongi, Tokyo
• 2024: NAU 21st Century Art Joint Exhibition, National Art Center, Roppongi, Tokyo

Other Work

• 2009: Illustrated for Gakken magazine Ohayo Okusama
• 2018: Illustrated the picture book The Process of Connection

小林 哲郎（Tetsuro Kobayashi） 

1981　畢業於 武藏野美術大學 油畫學科

1982　第50回獨立美術展（此後參展5次）

1985　第3回上野之森美術館大賞展（此後參展10次）

1991　第3回國際美術大賞展

1996　第6回ART BOX大賞展（此後參展4次，97年獲畫廊賞）

1998

• 於ART BOX Gallery（銀座）舉辦個展（作為上述畫廊賞的獎勵）
• 於Galleria青貓（西荻窪）舉辦個展（畫廊開幕企劃展）2003　第5回佛羅倫斯賞展（此後參展3次，03年獲佳作賞，08年獲比安奇賞）2007　青藍會展（仙台，藤崎百貨，09年亦參展）2011
• 2009　獲美術育成財團雪梁舍支援，前往義大利研修（作為上述比安奇賞的獎勵）
• 2006　第2回世界堂繪畫大賞展
• 2000　第35回昭和會展
• 墨繪展（此後參展8次）
• 第4回風之會展・佛羅倫斯賞展獲獎作家展（此後參展3次）2018
• 2012　JAALA國際交流展（此後參展4次）
• 蒼天之會展（小田急百貨藤澤店）
• 風之會展 in Firenze（佛羅倫斯國立美術學院／義大利佛羅倫斯）
• 2020　第3回寶龍藝術大賞展（上海，寶龍藝術中心，榮獲三等獎）

2022年展覽計畫 (詳細資訊將更新於BBS)

• 百花繚亂展
  • 1月5日～1月31日
  • Bar Last Chance（下北澤）
  • 多人參展的和紙小品展
• 新春Petit Pains展
  • 1月11日～1月22日
  • 仲通Gallery（JR/地鐵 關內站 或 地鐵 馬車道站）
  • 多人參展的小品展
• 藝術俱樂部作品展
  • 2月8日～2月13日
  • 神奈川縣民Hall
  • （指導的兒童教室展覽）
• NAU 21世紀美術連立展
  • 2月9日～2月20日
  • 國立新美術館（乃木坂）
  • 以大型作品為主的大規模展覽
• -多樣的形式與表現- 今日繪畫四人展
  • 2月24日～3月2日
  • 藤崎百貨（仙台）
  • 百貨公司畫廊選拔的四人聯展
• Sense 2022
  • 4月18日～4月23日
  • Gallery Art Point bis（銀座）
  • 每人展出4、5件作品的小品展
• 物與事之間（暫定名）
  • 6月6日～15日
  • Gallery Emu（新宿）
  • 企劃五人展，詳情將於日後公佈
• BODY展
  • 8月
  • 弘重Gallery（惠比壽）
  • 中型作品1件
• 墨展
  • 9月10日～20日
  • 好文畫廊（日本橋）
  • 大型與小型作品
• 三人展
  • 11月21日～27日
  • Gallery羅針盤（銀座）
  • 數件大型作品，及其他中、小型作品

Education & Awards

• 1981: Graduated from Musashino Art University, Department of Oil Painting
• 1982: 50th Independent Art Exhibition (subsequently exhibited 5 times)
• 1985: 3rd Ueno-no-Mori Museum Grand Prize Exhibition (subsequently exhibited 10 times)
• 1991: 3rd International Art Grand Prize Exhibition
• 1996: 6th ART BOX Grand Prize Exhibition (subsequently exhibited 4 times, 1997 Gallery Award)

Solo Exhibitions

• 1998: ART BOX Gallery (Ginza, Tokyo) – solo exhibition as a prize of the Gallery Award
• 1998: Galleria Aoneko (Nishi-Ogikubo, Tokyo) – solo exhibition for gallery opening project

Major Group Exhibitions & Awards

• 2003: 5th Florence Prize Exhibition (subsequently exhibited 3 times, 2003 Honorable Mention, 2008 Bianchi Prize)
• 2007: Seiran-kai Exhibition (Sendai, Fujisaki Department Store; also exhibited in 2009)
• 2009: Supported by the Art Promotion Foundation, Yukiryosha, Italy Study Trip (as Bianchi Prize reward)
• 2006: 2nd Sekai-do Painting Grand Prize Exhibition
• 2000: 35th Showa-kai Exhibition
• Sumi Painting Exhibitions (subsequently exhibited 8 times)
• 4th Kaze-no-kai Exhibition & Florence Prize Awarded Artists Exhibition (subsequently 3 times)
• 2012: JAALA International Exchange Exhibition (subsequently 4 times)
• Soten-no-kai Exhibition (Odakyu Department Store, Fujisawa)
• Kaze-no-kai Exhibition in Firenze (Accademia di Belle Arti di Firenze, Italy)
• 2020: 3rd Baolong Art Grand Prize Exhibition (Shanghai, Baolong Art Center, 3rd Prize)

2022 Exhibition Schedule (Details to be updated on BBS)

• Hyakka Ryoran Exhibition
  • Jan 5 – Jan 31
  • Bar Last Chance (Shimokitazawa, Tokyo)
  • Group exhibition of small works on Japanese paper
• New Year Petit Pains Exhibition
  • Jan 11 – Jan 22
  • Nakadori Gallery (JR/Subway Kannai Station or Bashamichi Station)
  • Group exhibition of small works
• Art Club Works Exhibition
  • Feb 8 – Feb 13
  • Kanagawa Prefectural Hall (student exhibition)
• NAU 21st Century Art Joint Exhibition
  • Feb 9 – Feb 20
  • National Art Center (Nogizaka, Tokyo)
  • Large-scale exhibition focusing on large works
• -Diverse Forms and Expressions- Today Painting Four-Person Exhibition
  • Feb 24 – Mar 2
  • Fujisaki Department Store (Sendai)
  • Four-person exhibition selected by department store gallery
• Sense 2022
  • Apr 18 – Apr 23
  • Gallery Art Point bis (Ginza)
  • 4–5 small works per artist
• Between Things and Objects (tentative title)
  • Jun 6 – Jun 15
  • Gallery Emu (Shinjuku)
  • Five-person planned exhibition, details TBD
• BODY Exhibition
  • Aug
  • Hiroshige Gallery (Ebisu)
  • One medium-sized work
• Ink Exhibition
  • Sep 10 – Sep 20
  • Kobun Gallery (Nihonbashi)
  • Large and small works
• Three-Person Exhibition
  • Nov 21 – Nov 27
  • Gallery Compass (Ginza)
  • Several large works and additional medium/small works

近藤 あき子（Kondo Akiko）

一位活躍於日本當代藝術界的視覺藝術家與畫家，她以油畫、布作品與裝置藝術等多種媒材創作，並在日本各地畫廊與美術館舉辦過個展和聯展。 

一、藝術家簡介
・出生地：日本新潟縣加茂市（出生）
・教育背景：早稻田大學及同大學院主修俄羅斯文學，後赴美國休士頓Glassell School of Art學習油畫、雕塑與美術史（奨學金）。 

二、創作與風格
・近藤あき子的創作涵蓋布料藝術與油畫，常融合個人情感、歷史記憶與社會議題。她曾以反戰、原爆、種族與人權等重大主題為靈感，透過色彩與形式進行創作表達。 

三、展覽與活動
・她的作品曾於日本及國際藝廊展出，包括銀座巷房・1（Tokyo Ginza）、巴黎藝術空間等。 
・例如她在東京銀座「Gallery Gen」舉辦的個展《たとえ天が何回落ちようとも》以及其他年度展出記錄。 
・她也曾在原爆之圖＊丸木美術館*的藝廊空間舉辦過展覽（2022年）——展示布作品與油畫並置的創作。