Soh Ikegami​

Tama Art University

Tama Art University

Judge's comment

The flexible form and tree-like installation that far exceeded the idea of craft glass modeling were extremely attractive. The challenge of creating three-dimensional objects without being bound by preconceptions about glass, such as its transparency, color, and weightlessness, gives rise to even more possibilities.

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

Kanako Hiramatsu

Tokyo University of the Arts Graduate School

Tokyo University of the Arts Graduate School

Judge's comment

Are multiple paintings by one artist different works? Can watching one work over and over again be considered the same experience?
Even if a fountain looks like a certain shape, the flowing water is not the same. His unique perspective of viewing production and viewing using the metaphor of a "fountain" provides a fresh perspective for painting.

(Mitsubishi Ichigokan Museum, Tokyo Curator / Reiichi Noguchi)

Yumeo Nakayama

Tokyo University of the Arts Graduate School

Tokyo University of the Arts Graduate School

Judge's comment

Since the pieces cannot be perceived a priori and are made of inorganic materials, they appear cold at first glance, but as they move in the wind, they resonate with the place and nature, taking on a dream-like dimension. Works that once again reveal the world around us, fascinate us, and heighten our sensitivity to things. A work that resonates like a homage to kinetic art and land art, and allows you to imagine it expanding across the landscape.

(Cultural Officer, French Embassy in Japan / Sanson Sylvain)

Mao Shibata

Tama Art University

Tama Art University

Judge's comment

Make the invisible visible. The blue sheet that usually protects things, a cheap material, can do magic. Normally, works created using protective sheets to hide things are invisible when viewed on a webcam monitor, but become visible when you visit the site. During the two years of the coronavirus pandemic, communication has overwhelmingly been through monitors. Under such circumstances, there is a need to redefine the meaning of communication in real-world settings. The biggest attraction of a real place is "sharing of emotions." The combination of Blue Sheet's chroma key synthesis technology, monitor, and web camera is the current technology. It was refreshing to visit the actual site and see the vivid blue work in front of my eyes, asking, ``Can you see it?''

(OCA TOKYO Director / Kenichi Hirono)

Sota Suzuki

Tama Art University

Tama Art University

Judge's comment

Suzuki's works wander between the real and the insubstantial, between the real image and the virtual image, creating an ironic yet humorous space that is in limbo. I look forward to the future of his ability to use narrative to reinterpret the commonplace of everyday life.

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

Mao Shibata

Tama Art University

Tama Art University

Judge's comment

Although the sculpture occupies a considerable amount of space as a collection of various objects that appear abstract, the work that was supposed to be right in front of my eyes disappears from behind the monitor. Using the orthodox video technology of chroma key synthesis, which extracts only a specific color and replaces it with another image, this fun and sculptural expression lightly disturbs our perception of space by replacing it with the material in front of us. I think this is a work that combines a critical approach to the history of

(Yokohama Museum of Art of Art Chief Curator / Eriko Kimura)

Sho Tsuchida​

Tohoku University of Art and Design Graduate School

Tohoku University of Art & Design Graduate School

Judge's comment

Sho Tsuchida's works have the smell of earth and people. The way he transplanted the spirit of Hitoshi Komatsu's paintings into himself and trained himself in direct copying is awe-inspiring that transcends time and space. It seems that even though it is local, it has reached the point of global life. I hope that they will continue to expand in scale and become an extraordinary Artist.

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

Hiroto Tomonaga

Musashino Art University Graduate School

Musashino Art University Graduate School

Judge's comment

The space in Hiroto Tomonaga's paintings emerges through slight shifts and distortions. His brush strokes are not sensuous but precise, and he stands true to his subjects and landscapes, bringing rich expression to the swaying scenes. that's attractive

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

nelson ho ee heng
Nelson Hor Ee Herng

Tama Art University

Tama Art University

Judge's comment

The drawings are made with acrylic and mineral pigments on washi paper, and I was fascinated by their unique psychological and physiological feel. The coexistence of everyday images from everyday life and classical images is also interesting. He is a painter blessed with the unique quality that the world of his line drawings, which are clear yet somehow disturbing, is based on the artist's own personal story.

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

Keita Motooka​

Musashino Art University

Musashino Art University

Judge's comment

Keita Motooka's unique technique is determined by the relationship between multiple conditions: the strength of paper (+ resin) as a material, the form of the motif, gravity, and the artist's will. Creates a sense of floating that cannot be felt. There are great possibilities here that go beyond the boring debate of whether it is a sculpture or a painting.

(Tokyo Metropolitan Art Museum Curator / Tomoko Yabumae)

Yusuke Washimi

Musashino Art University Graduate School

Musashino Art University Graduate School

Judge's comment

Transforming by acquiring a foreign object is a common theme in the anime and live-action monster dramas that we were exposed to in our childhood, and on the other hand, transformation into extraordinary, sacred beings exists in all cultures. It is also a means. I felt there was potential in a method that could go back and forth between the local and the universal in terms of time and ethnicity.

(Mitsubishi Ichigokan Museum, Tokyo Curator / Reiichi Noguchi)

Soh Ikegami​

Tama Art University

Tama Art University