前田 正宪 Masanori MAEDA

2023.5.13 – 7.9



On a stormy afternoon, I turned on the TV alone and watched the movie “Drive my car” adapted from Haruki Murakami’s short story on Netflix. Those who survive are always missing those who left. We love someone and betray them while loving them. The dialogue in the movie was trenchant which moved the audience. I don’t know if this trenchancy comes from the author, playwright, or director. Anyway, I plan to review the original work before reading his new work.

In daily life, we are always hurt by the closest people. Everything is changing, and the uncertainty makes us uneasy and anxious. The more you trust, the more you care, so the wounds that don’t bleed are hidden deep and unknown. There are always endless sequins on the carpet of the room, but no one wants to reveal that secret because even so they don’t want to lose. Many uncertainties come together to generate one certainty, and perhaps some things have already slowly passed away. I stubbornly stood still, unwilling to take my own path, but turned around and see you gazing in the distance. Standing alone in the blue sky after the storm, a very short rainbow suddenly appeared in front of me. I was not surprised by the rainbow after the rain, but I disliked that the shape of the rainbow was not perfect enough and the time it stayed was not long enough.


View more

Shun Art Gallery is honored to present the Nihonga artist Masanori MAEDA’s solo exhibition “Guan”, which is the artist’s first solo exhibition in China. It exhibits more than 20 selected abstract works created since 2016. Maeda focuses on the relationship between the texture of “rock” and abstract painting, meanwhile, influenced by the pure and simple “Mono-ha” movement, his creation has entered a new state in recent years.


About the artist


Compared with acrylic or oil painting materials, the Japanese pigments used in Nihonga are not only complex but also difficult to be effectively used in abstraction. It is this complexity that gives the genre called Nihonga its captivating allure, and an emerging school of contemporary Japanese painters is bringing this centuries-old tradition, previously leaning heavily on figurative painting, into the 21st century with bold colors and striking abstractions. Masanori MAEDA is one of the pioneers.

The prestigious Tokyo Art University is recognized as the most difficult art university to be admitted to in Japan, its glittering alumni essentially comprise the modern art history of Japan since the Meiji Period. Maeda graduated from this university and won the Ataka Prize. The artist’s early figurative works are quiet and implicit, the simple colors have the slightest changes, the glimmer of time is attached to the depicted still life, and the sight is kept in an eternal moment for a long time. In recent years, Maeda has renewed his focus on abstraction, a style of painting that he had always wished to paint, inspired by the simplicity of the Mono-ha movement and the pine trees of the legendary Medieval Japanese painter Hasegawa Tohaku. His brushstrokes reveal a tension in the void, which contains hidden unknowns, as if it is the sensibility honed in the cold and windy winter, serenity and gracefulness. Maeda tries to capture the superposition between “visible and invisible” in the image. The elements of life and death, pain and happiness are juxtaposed, once forgotten, the audience can enter another realm of transcendence, tranquility, and power.

Maeda has won many awards, including the Ataka Prize of the Tokyo University of the Arts, the Fuirann Award for Best Artwork, and the second prize of the Chicago International Art Competition. His works have been exhibited at major international art fairs and successfully auctioned at Sotheby’s in Hong Kong. His works were collected by institutions such as Ryumon Temple Collection in Tokyo, Tokyo University of the Arts.

View more