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觀自在

前田正宪 Masanori MAEDA

2023.5.13 – 7.9

上海

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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.

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Area of Colors Existence

Area of Colors Existence
80.5 × 65.5 cm
2022

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Both Forgotten

Both Forgotten
98×98cm
2023

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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.

Nihonga can be traced back to the murals of the Kizil Caves in the third century AD, and later spread to Japan in the form of Buddhist art, and has achieved considerable development in Japan. The nature of mineral pigments is not easy to reconcile. Artists must be familiar with the “temper” of Nihonga pigments. Each particle is independent, and Nihonga pigments of different colors and thicknesses are manipulated by the artist into a unique language. With the help of light, the picture is full of “divinity” shine.

Maeda’s early works focused on figurative Nihonga. As an excellent student at the Tokyo University of the Arts, Maeda won the Ataka Award upon graduation. His figurative works are quiet and inward, and the quiet colors are shining with wabi-sabi-style “shimmer”. Influenced by the legendary Japanese painter Hasegawa Tohaku, his brushwork presents tension in the void, containing hidden unknowns, as if the sensibility honed in the cold winter wind, silent and gentle.
In 2016, Maeda began to explore abstract Nihonga. He layered and juxtaposed the pigments of Nihonga on a specific base. The seemingly flat color scheme, each with subtle and complex changes, romanticized colors flow among the colors, and the boundaries between figurative and abstract become uncertain. Maeda strives to capture the “superimposition” between “visible and invisible” in the picture, life and death, suffering and happiness, and other polar elements of opposites, once shelved and forgotten, they can enter another transcendent, peaceful, and powerful realm.

Gazing at Maeda’s brushstrokes is healing. Flowing and surging, converging and spreading, the color layers of mineral pigments “reveal, expose, hide, and disappear”, just like seeing every thought of human beings arises and perish, in the full introspective state, the speed of life slows down, the mind gradually becomes clear, everything is flowing quietly.
According to the famous double-slit experiment, the world is suggested as a world under the cover of human consciousness. Maeda’s works try to inspire and awaken our true understanding of the world. Close the “eyes, ears, nose, tongue, body and mind”, and no longer keep searching outside. We are originally connected to this energy world, and there is nothing lacking in ourselves. When afflictions strike, observe the birth and death of this thought, like clouds rolling in and unwinding, without attachment or hindrance, until it does not arise or perish.

Affliction is Bodhi.

アーティストについて

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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.

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