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.