Official

At the University of the Arts Art Journey Exhibition, we will introduce 10 excellent works selected from the graduated and completed works of Tokyo University of the Arts in 2022 for three periods.

A variety of works created by making full use of various specialties such as painting, crafts, design, and intermedia art will appear.

Please enjoy your trip around art while feeling the whole expression of young artists flying off from the University of the Arts.

Exhibition period

Phase 1:　From April 19 (Wednesday) to May 18 (Thursday), 2023

Phase 2:　May 20, 2023 (Sat) to June 18, 2023

Phase 3:　June 20, 2023 (Tuesday) - July 19, 2023

Host:　The Metro Cultural Foundation

Planning Supervision:　Tokyo University of the Arts Social Collaboration Center

In addition to the three elements of sound, semantic, and visual elements, I thought that there were inherent images such as personal memories and emotions, and I tried to visualize the uncertainty of the word that is both a character (symbol) and an image by creating and combining characters with individual emotions that are not bound by existing characters.

I think communication is to express invisible things such as memories, emotions, and prayers in words, music, paintings and dances.

Among them, I am attracted to the relationship between words and letters.

The exchange where the words spoken by others become characters and the person who reads the characters imagines and receives the meaning is ambiguous and feels sincere.

Here, we asked others to talk about "the most memorable dreams" and create and combine personal characters that are not print based on the sound wave data to create a visual that combines characters and images.

This is the pursuit of visual expression between these two paintings, a painting trying to convey the truth by mimicking the world in front of me, and a character trying to convey the words spoken as sound.

Forest? When I went to a beautiful forest instead of the sea of trees and dug something there, I came out very much money.

I don't know why I saw it when I was in kindergarten, but I'm on the train platform with my mom and I'm in a platform that looks like a terrible old-fashioned subway tunnel, so I'm wearing a hat, a straw hat, a train soon comes. It's like a wind blows.

A dream of flying a hat and looking back at mom's hat flying, and being pushed down by a van.

When I tried to go to the living room, the whole appearance is scary, greenish, and it seems very scary.

And it's dark.

Oh? When I thought, when I went to the living room, I said a pappy and looked back, it was absolutely scary, or if I thought it was no face, my eyes were a little small.

Oh, isn't it a little small? That's the dream of horror.

※　Carpe diem (calpediem)

　　　　　　・・・ [In Latin] "Living Today"

"In this way we are always in front of <deep>, or otherwise we will go to the other side, and we cannot see the depth."

　　　　　　　　　　※　M.Mello-Ponti "Eye and Spirit" Shizuo Takiura, Gen Kida (translation)

When a person sitting in a wheelchair wants to go far away, someone else is needed to go there.

If he doesn't come close, he can't go far away.

Of course, this person may be able to move the wheel with his own hands.

<The man in the check shirt> It was the most distant model from the accomplice relationship between the painter and the model.

He could not pose actively or passively.

I was able to escape completely from the painter's gaze.

I was able to draw for hours without being recognized by him from his right side, who stopped working.

An actor is used as a model of portraits in everyday production.

When they do my model, they are in an interval between the role and the individual and are waiting for the role, and they can play the model without letting go of themselves.

That sense of distance was necessary to draw portraits.

No matter how much I give my gaze, just like he escapes from it.

This man died in 2018, and there was no other model anymore, but I got a new model to draw that portrait.

The model was a painter.

This painter can give himself a model, recognize me of course, and on the contrary, even see my hand, and sits in front of me for hours.

I couldn't do my job like an actor who made the director the other.

Drawing and turning, moving the position of the easel, changing the position of the position, turning on and off the lights, and doing everything, I tried to keep away from this model.

It was not a model in front of me and moving away from me, but this time I had to struggle to move away from the model in front of me.

I prepared two rooms for one painting.

Keep the doors of those two rooms open.

The picture goes out of the room.

I can carry a picture.

Well, this text is the text posted at the first place where this picture was exhibited.

Now the picture is carried out again and put in this showcase.

Ginza Station on the Tokyo Metro Ginza Line, Marunouchi Line, Hibiya Line

Near the entrances B7 and B8 underground concourses