Kyo Nei

Tama Art University Graduate School

Tama Art University Graduate School

Judge's comment

I was fascinated by the beauty of the screen, which elegantly combines linear and color elements from a formal perspective. At first glance, it may seem like an improvised depiction, but in reality it is a world supported by a precise and delicate sensibility. It is also interesting that there is latent concrete inheritance.

President of Tama Art University, Director of the Museum of Modern Art, Saitama/Akira Tatehata

Saki Iwamori

Tokyo Zokei University

Tokyo Zokei University

Judge's comment

I was impressed by how well the image of the work was created and the process of creating the iron sculpture were perfectly synchronized. The rows of sculptures look like the people who work here, or like a cluster of anthropomorphic buildings, making it appropriate for them to be displayed in this location, and we praised them for their great effect.

Mitsubishi Ichigokan Museum, Tokyo Curator/Reiichi Noguchi

Yume Aoyama

Tohoku University of Art and Design

Tohoku University of Art & Design

Nanase Kondo

Tohoku University of Art and Design

Tohoku University of Art & Design

Judge's comment

Nanasai Kondo's artistic approach is not to decorate or improve the old Furniture that is the center of her work, but rather to expand it and slightly "shift" its reality, without considering its purpose. be. By mixing various materials and modifying them without giving them their original function, we are liberated from both craftsmanship and abstraction, leading us to another dimension. In this way, against all utilitarian purposes, the artist attempts to give these everyday objects a new perspective by giving them a certain aura and by giving them a shifting effect and a new frame.

Cultural Attaché, Embassy of France in Japan/Sanson Sylvain

Akira Taniguchi

Tokyo University of the Arts Graduate School

Tokyo University of the Arts Graduate School

Judge's comment

I felt an affinity with BLUE MOON in the dynamic coloring, style, and free-flowing lines. On the other hand, there is something that resonates with our craftsmanship, such as making our own canvases and being particular about expressions other than paintings. I'm looking forward to future endeavors.

Molson Coors Japan Co., Ltd.

Nobuto Okawahara

Kyoto City University of Arts Graduate School

Kyoto City University of Arts Graduate School

Judge's comment

I thought that the theme of Mr. Okawara's work was imbalance in the body, human relationships, and society, and the exquisite balance that resists it, but during the judging process, the artist said, ``A sense of security in collapse.'' No, I mean something interesting.

Professor, Tokyo University of the Arts, Graduate School of Fine Arts/Yusaku Imamura

Nobuya Matsui

Musashino Art University

Musashino Art University

Judge's comment

If a painting is essentially a means of giving visual permanence to an image or concept, then the act of applying sticky tape to the back of the paper that supports the work is a refusal to preserve it. This is nothing but a fast-forwarding of time towards deterioration and oblivion. This work is interesting because it challenges painting to coexist with the contradictory acts of fixation and destruction.

Yokohama Museum of Art Chief Curator/Eriko Kimura

Hayato Isozaki​

Tokyo University of the Arts Graduate School

Tokyo University of the Arts Graduate School

Judge's comment

Hayashi Isozaki's work was a two-dimensional work in which his own blood was applied to a bare board. At first glance, this work may seem scandalous, but it seems to be the ultimate choice to sincerely confront expression, and the result of deep thought. In a game-like world, the rare honesty of his works is even lovely.

Editor, Creative Director, Kyoto University of Arts Professor/ Shigeo Goto

Sho Tsuchida​

Tohoku University of Art and Design

Tohoku University of Art & Design

Judge's comment

I draw based on uncompromising research and actual experience of my subjects. The strength that this posture brings to the screen is connected to the strength of nature itself, and it is wonderful that even though the work itself is made by humans, it exists as a natural thing.

Representative of Tomio Koyama Gallery, Representative Director of Japan Contemporary Art Dealers Association/ Tomio Koyama

Yoko Kida

Kyoto City University of Arts

Kyoto City University of Arts

Judge's comment

Instead of spitting it out or swallowing it, Kida creates a pottery to "preserve" the list of words that end up being left as drafts on social media. Letters and fire, which would normally be extremely hostile, fight together here, and the letters, baked at temperatures far higher than those in ``Fahrenheit 451'', run parallel to the artist who endures nausea.

Independent Curator/Arata Hasegawa

Yuiha Yamaguchi

Tokyo University of the Arts Graduate School

Tokyo University of the Arts Graduate School

Judge's comment

There is a difference between a painting depicting everyday events and a ceramic three-dimensional object created according to the artist's own method. However, they were contrasted and created a world of expression. In particular, I felt a fresh surprise at the way ceramics were created as paintings.

Mitsubishi Ichigokan Museum, Tokyo Curator/Reiichi Noguchi