泉川のはな　

Nohana Izumikawa
東北芸術工科大学大学院
Graduate School of Art and Design,
Tohoku University of Art And Design

現代の沖縄の風景を形成した戦後の歴史に着目し、沖縄と日本の関係性を探りながら、都市化する沖縄をテーマに制作しています。

The history of Okinawa since World War II has largely determined the archipelago’s current landscape. With the urbanization of Okinawa as the theme for this piece, I have been exploring how the current relationship between the region and Mainland Japan came to be shaped.

大山紗智子　

Sachico Oyama
愛知県立芸術大学大学院
Graduate School of Fine Arts,
Aichi Prefectural University of the Arts

実感のない、変化し続ける人間同士の関係。自分の中にある男性性、女性性や恋愛感情に関心があります。生/死、男/女、実態/虚像、暴力/静寂など、相反するものが内在しているひとりの人間の中で、どうバランスを取るのか考え続けています。

In my work I explore the intangibility and volatility of human nature, relationships and emotions. We all possess masculine and feminine traits and are capable of love. Moreover, one person can simultaneously entertain a yearning for both life and death; have a well-grounded personality yet enjoy testing out different personas; or be capable of both violence and tranquility. I have been thinking about how these contradictions are maintained and a balance struck between them.

長田奈緒　

Nao OSADA
東京藝術大学大学院
Graduate School of Fine Arts,
Tokyo University of the Arts

目の前のそれが何であるか分かるよりも先に、ただその見えていることに魅入ってしまうような瞬間を留める試みとして。

Sometimes we are betrayed by our eyes. I aim to create work that allows for that mesmerizing moment when we see without fully understanding.

表良樹　

Yoshiki Omote
東京藝術大学大学院
Graduate School of Fine Arts,
Tokyo University of the Arts

測りきれない程の大きな力や、幅広い時間を日常の大きさに置き換えようと、作品を制作しています。

I’m striving to create pieces of art that, although no larger than everyday objects, are able to convey the sense of overwhelming wonder invoked by encountering immeasurable forces and the eternal passage of time.

香月美菜　

Mina Katsuki
京都造形芸術大学大学院
Kyoto University of Art and Design
Graduate School

絵具を何かを表現する素材ではなく、また記憶や経験から何かを投影するものではなく、絵具そのものとは何かについて追求している。

To me, pigment is more than a tool for expressing concepts or ideas. In my work, I’m seeking to find the meaning of pigment itself. My pursuit is not dependent on memories or experience and always intended to determine the “archetype” of expression methods.

辛 遊理　

Yuri Kanoto
東北芸術工科大学大学院
Graduate School of Art and Design,
Tohoku University of Art And Design

盛岡で生まれ育ち大学時代を山形で過ごしたことで、冬や山をモチーフに制作するようになった。山と女の柔らかい曲線、力強さや印象などを重ね合わせて表現している。

Because I was born and grew up in Morioka and later traveled to Yamagata to attend university, it was only natural that winter and mountains became the primary piece of my artwork. In this work, I incorporated the gentle and feminine shape of the mountains while trying to convey their innate dynamism.

衣 真一郎　

Shinichiro Koromo
東京藝術大学大学院
Graduate School of Fine Arts,
Tokyo University of the Arts

ある風景を見る時、角度や距離を変えるとまた違ったものが見えてくる。一つ一つのタッチや色、形の積み重ねが絵になっていく。

Depending on angle and distance, the same scene can look completely different. In my work, I’m trying to create a composition that keeps this in mind by building it up stroke by stroke, color by color and shape by shape.

アルベルト・ヨナタン・
セティアワン　

Albert Yonathan Setyawan
京都精華大学大学院
Graduate School of Art, Kyoto Seika University

仏教の教えの主要な原則のひとつの図像学であるマンダラを作るという方法で、瞑想法と儀式、人間の精神体制「cosmic order」を表現しています。

In creating this piece as a mandala, the iconic Buddhist art form often used to illustrate core principles, I intended to convey the concept of “cosmic order,” an ideal state of mind realized through meditation and ritual.

高田有輝　

Yuki Takada
東京工芸大学
Tokyo Polytechnic University

過去の連鎖によって、立ち現れるそう遠くない未来への合図。土地を歩き、捕らえた光、及び見逃した景色を意識する追体験の装置。

The present is the result of a chain of events stretching into the past. I created this piece to signal to those living in the near future. The device allows viewers to experience lights and scenes that I have captured, and sometimes forgotten, during my ramblings around coastal areas.

高山夏希　

Natsuki Takayama
東京造形大学大学院
Graduate School of Tokyo Zokei University of Arts and Design

近代的な世界観とは全く異なる、人間と動物と環境が一体となった世界のあり方を、北極圏に生きるイヌイットの姿を通して考える。

Living in the Arctic region, the Inuit have a worldview that is far removed from that of many in the developed world. Inspired by this perspective, I created this piece as a study of the possibilities of a world in which human, animals and the environment coexist in a harmonious whole.

中野磨里　

Mari Nakano
名古屋芸術大学大学院
Graduate School of Art,
Nagoya University of Arts

いつも居心地の良い場所を探している。居心地の良さと不快さはいつも一緒。人と人の間に流れるその空間の重なりを表現したい。

People are always trying to maintain an ideal comfort zone but there is a fine line between being comfortable and feeling intruded on. In this work I hope to convey the importance of the zones people maintain and what happens when zones overlap.

中村萌　

Moe Nakamura
京都造形芸術大学大学院
Kyoto University of Art and Design Graduate School

それは、ケーキと少し似てる。
パリッ、ふわっ、とろっ、ぐにゅ。
きっと、やみつきになるはず！

This piece makes me think of cakes.
It’s crisp and fluffy yet creamy and soft.
Sugar addicts beware!

藤田淳也　

Junya Fujita
東京造形大学
Tokyo Zokei University of Arts and Design

無関心ではいられないと思う時、平然と立ち尽くすカカシは立派な受動的ニヒリストに見えるので私はいじらないではいられなかった。

Conveying indifference in the face of need, this work centers on the figure of a scarecrow. A passive nihilist, he is hard not to constantly poke due to his insistence on remaining a bystander.

藤原美咲　

Misaki Fujiwara
東北芸術工科大学大学院
Graduate School of Art and Design,
Tohoku University of Art And Design

ここに在る限りは、何かを飼い慣らしたりまたは何かに飼い慣らされることを免れない。そうではない選択肢を探したい。

People constantly seek to control others while they themselves are also being controlled. That’s how the game is played in this world. I’m looking for a better way.

丸山 純　

Jun Maruyama
名古屋造形大学
Nagoya Zokei University of Art & Design

様々なものがひしめいて変容していく生物のような構造体の中にいる。その蠢きを受け入れる。抵抗する。不条理に対する非力な存在。

My piece conveys what it’s like to be one component crammed with myriad others in a living structure such as a cell as it moves and evolves. Accept it or resist it, you are helpless before the absurdity of reality.

水谷昌人　

Masato Mizutani
京都市立芸術大学大学院
Graduate School of Arts,
Kyoto City University of Arts

現在から過去へと過去から現在が合わさったときに初めて出会いのような経験を私は感じ取る。今回はフランシス・ベーコンと。

I gained fresh insight while conducting a retrospective study of art that went from the contemporary to the great masters when I found overlaps between the futuristic visions created in the past and modern works. This piece is inspired by Francis Bacon.

村上 早　

Saki Murakami
武蔵野美術大学大学院
Graduate School of Art and Design,
Musashino Art University

幼い頃の、忘れられない記憶が私を作る。版の腐蝕は腐敗であり、版上の傷は人体と心の傷、紙に刷り取れるインクは血である。

Who we are today is shaped by indelible memories of our youth. In this work, the corrosion marring the plate represents corruption. These scars are evidence, the memory of physical and mental wounds. Ink applied on paper is my blood.

村田勇気　

Yuki Murata
東京藝術大学大学院
Graduate School of Fine Arts,
Tokyo University of the Arts

イメージの分解と再構成によって、撹拌されたオブジェクトの記号や意味がどのような様態をなしうるかを試行する。

In this piece I demonstrate how by deconstructing images, stirring up the resulting fragments, and reassembling them into new images, random objects and symbols can take on new meaning as a work of art.

吉田桃子　

Momoko Yoshida
京都市立芸術大学大学院
Graduate School of Arts,
Kyoto City University of Arts

普段好きな音楽を聴いている時に想像する動くイメージや高揚感を、音楽の「挿絵」を超えた形で提示する方法を探っています。

My favorite music not only lifts my spirits, it creates moving pictures in my mind’s eye. While my drive for creating art is often fueled by music, I seek to present works that are more than mere “illustrations” inspired by music.

渡邊拓也　

Takuya Watanabe
東京藝術大学大学院
Graduate School of Fine Arts,
Tokyo University of the Arts

道具を使うこと、それは物と人の最も原初的な関係であると考える。そこに生まれる人間の欲望を少し離れたところから眺めてみる。

The fundamental relationship between humankind and objects began when the first human picked up and began using tools. From this relationship the human desire for things emerged. That’s what I tried to express in my work through observation from a distant perspective.