Gallery Kawafune ギャラリー川船

吉村 芳生 展 -版画・ドローイング-
11:00am-7:00pm 日・祭日休廊

Tasting Yoshio Yoshimura
Ren Fukuzumi
The printed media have been in a remarkable slump of late. That magazines don’t sell has long been lamented and, arguably as aftereffects of last autumn’s global financial crisis, well-known magazines are recently being forced to stop publication, one after another. While relatively low-cost Web magazines are growing rapidly, publications on paper will continue being in a plight. It would be possible to accept this situation as the decline of the 20th century-style media but, for me who grew up amid photogravures and texts on paper, it’s true that fetishism toward the printed media is hard to forsake. The sense of materiality and thickness and the smell that images or characters printed on paper emanate ? these are the “taste” that only the paper media have, which could by no means be desired from tasteless imagery on the Internet, copied and pasted endlessly behind the monitor. The time in which we are destined to live from now might be a terribly poor time when such a “taste” is unfortunately impossible to enjoy, even if we want to.
The reason why I want to evaluate Yoshio Yoshimura’s creative activities high is that, while being affected by the poverty that the time imposes, his works let us feel an exquisite richness. It goes without saying that the works are fitted with visual strength requisite for any work of fine art. The exhibit of his series of self-portraits, done every day like keeping a diary, looks undoubtedly overwhelming, and another series of simple sketches of weeds and flowers also doesn’t cease literally overwhelming the viewer with its sheer aimlessness, serving for absolutely nothing. However, if the viewer is told about the process of making the better part of such works, that they were drawn precisely from photographed images, he or she will soon understand that the visual strength seen in Yoshimura’s works doesn’t derive simply from the technical precision of drawing. I heard that the works showing newspaper pages were done by tracing painstakingly the faint marks of ink left on the paper after it was pressed hard onto the newspaper. Indeed, what makes Yoshimura unrivaled and excellent among other artists is the point that he just “copies” the motifs throughout, instead of “representing” the subjects realistically like superrealist or realist painters. At first glance, there are few perceivable elements of the artist’s “subjectivity” or “individuality.” But this renders his handwork, which simply and obstinately repeats copying, all the more overwhelming.
The obsessive repetition of handwork: As many have already pointed out, Yoshimura may be feeling happy and free when he devotes himself to such work. But the richness I find in his works is of a somewhat different nature.
When we see his early prints and drawings with pencil at this solo exhibition, we will be astonished, knowing that Yoshimura’s “copying” was based on a rigorously mathematical procedure. Yoshimura first divided a photograph into precise grids, then transcribed each grid into a number that corresponded to a specific degree of chiaroscuro, by his subjective decision. The image reduced into numbers signifying light and shade was converted to lines and color fields again on another sheet of paper. With all these elements accumulated and recomposed, his “copying” was complete. Digital photographs display fine images because they are composed of accumulations of numerical data, but Yoshimura’s works, produced by the same method as digital photography, nevertheless retain the traces of his own handwork. What’s inevitably visible there is not the preciseness of images copied, but the enormous amount of time and infinite enthusiasm spent during the process of transcribing images after reducing them to numbers. It’s certain that the viewer is deeply touched by this overwhelming persistence, but rebelling against the digital society with primitive handwork is not the reason why Yoshimura excels as an artist. Rather, by his own handwork, Yoshimura might be trying to regain, in his own hands, the process of making images, by tracing, steadily and repeatedly, the principles of digital technology. In other words, he might be struggling to attract images, separated from the body as they were digitalized, once again close to the body.
One of the works in a series of images transcribed after being reduced to numbers has Yoshimura’s own hands as the motif. It’s a relatively small work. What’s seen as hands from a distance is, at a close look, a mere agglomeration of innumerable diagonal lines. But there certainly is a shadow of Yoshimura himself cast there. It’s the nasty ambiguity that even handwork, on which Yoshimura bases his creative activities, could be reduced to digital data. While many artists tend to incline toward either digital technology or primitive handwork, Yoshimura is exploring an untrodden field where these extremes end up being reversed and connected to each other. And he accomplished the matchless work all alone. This is the very richness for us, and it’s this great accomplishment that we should “taste” fully.
(Art critic)

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河原No.7 1978年 コンテ 111x161cm  シェル美術賞展佳作賞(1978)

SCENE No.36(河原) 1981年  鉛筆 113.5x219cm

ROAD No.10 1978年 エッチング  ed.20 66x50cm
第6回イギリス国際版画ビエンナーレ テレグラフ・アーガス賞(1979) 東京都現代美術館所蔵

FLY 1979年 シルクスクリーン 46x56cm

SCENE No.40 1982年 シルクスクリーン  A.P. 45x56cm
SCENE No.41 1983年 シルクスクリーン  ed.20 44x54.5cm

SCENE 85-8 1985年 鉛筆 111x151cm  山口県展平面優秀賞(1985)

SCENE 1984年 ペン 28x32cm 

彼の地 1980年 鉛筆 111x152cm  山口県展平面最優秀賞(1986)
KANOCHI 1987年 木版10版10色  A.P. 10x10cm
HAND(1) 1982年 オフセット ed.39  21.5x13.5cm
HAND(2) 1982年 オフセット ed.39  21.5x13.5cm
ASH TRAY 1984年 ペン 28x32cm
EAR 1982年 オフセット A.P. 10.5x6.5cm
KANOCHI 1987年 オフセット A.P. 50x76cm
KANOCHI(数字) 1987年 鉛筆  50x76cm
SCENE 1993年 オフセット A.P. 12x10cm
A STREET SCENE No.16 1978年 エッチング 14/20 44x54.5cm
SCENE No.24 1979年 リトグラフ  14/20 80.5x55.5cm
JEAN ’84-11 1984年 シルクスクリーン1版2色  7/20 84x58cm

1950 山口県防府市に生れる
1971 山口芸術短期大学卒業
1979 創形美術学校卒業
1977 現代日本美術展(東京都美術館 他)
1978 日本国際美術展(東京都美術館 他)
  シェル美術賞展 佳作賞(東京セントラル美術館 他)
1979 ジャパン アート フェスティバル(ポーランド 他)
  イギリス国際版画ビエンナーレ アーガス賞(イギリス・プラッドフォード美術館)
1981 世界の現代版画25年展(東京都美術館 他)
1982 マイアミ国際版画ビエンナーレ メリット賞(フロリダ・メトロポリタン美術館)
1983 現代のリアリズム(埼玉県立近代美術館)
1984 小林和作賞受賞
1985 現代のセルフポートレイト展(埼玉県立近代美術館)
1986 ザ・メッセージ 日本現代美術83人展(横浜そごう美術館)
1991 個展 830日の自画像展(下関市立美術館)
2000 雪舟グランプリますだ 特別優秀賞(益田市)
2003 個展 花燦凝視"色鉛筆で見つめられた花たち"(山口市・C.S赤レンガ)
2004 個展 (東京・ギャラリー川船)
2005 中国国際画廊博覧会(北京)[ギャラリー川船]
  個展 (東京・ギャラリー川船)
2006 中国国際画廊博覧会(北京)[ギャラリー川船]
2007 個展 (高知県香美市美術館)
  個展 (東京・ギャラリー川船)
  山口県美術展 大賞(山口県立美術館)
2008 山口県美術展特別展示「2008年 ケシと自画像を描き続けた日々」(山口県立美術館) 
2009 個展 (東京・ギャラリー川船)
  マイアミ メトロポリタン美術館
Yoshio Yoshimura
1950 Born in Hofu Yamaguchi
1971 Graduate from Yamaguchi Junior College of Arts
1979 Graduate from Sokei School of Fine Art
1977 Contemporary Japan Arts Exhibition(Museum of Contemporary,Tokyo)
1978 Japan International ArtsExhibition(Tokyo Central Museum)
  The Shell Prize Exhibition,received the Shell Prize(Tokyo  Central Museum) 
1979 Japan Art Festival(Poland etc.)
  The Britain International Prints Biennial Exhibition,received  Argus Prize
1981 Contemporary Prints from the World 25years(Museum of Contemporary,
1982 Miami International Prints Biennial Exhibition,received  Merit Prize(Florida, 
  Metropolitan Museum)
1983 Contemporary Realism(The Museum of Modern Art Saitama)
1984 Received the Kobayashi Wasaku Prize
1985 Contemporary Self−Portraits(The Museum of Modern Art Saitama)
1986 The Message “Japan Contemporary Artists 83”(Yokohama Sogo  Museum)
1991 Solo Exhibition“Self−Portraits 830 Days”(Simonoseki City  Museum)
2000 SESSYU Grand Prize Masuda,received the Special Excellence  Prize(
2003 Solo Exhibition“Kasan−Gyoushi ”(Yamaguchi, C・S Akarenga)
2004 Solo Exhibition(Tokyo, Gallery Kawafune)
2005 China International Gallery Exposition(Beijing)[Gallery Kawafune]
  Solo Exhibition(Tokyo, Gallery Kawafune)
2006 China International Gallery Exposition(Beijing)[Gallery Kawafune]
  Korea International Art Fair(Seoul)[Gallery Kawafune]
2007 Solo Exhibition(Kochi, Komi City Museum)
  Solo Exhibition(Tokyo, Gallery Kawafune)
  Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art[Tokyo Mori Art Museum]
2008 Special Solo Exhibition(The Museum of Art,Yamaguchi)
  SIPA(Seoul International Print,Photo Art Fair)[Gallery Kawafune]
2009 Solo Exhibition(Tokyo, Gallery Kawafune)
  Museum of Contemporary,Tokyo
  The Museum of Art,Yamaguchi
  Higashi−Hirosima City Museum
  Warsaw Museum
  Miami Metropolitan Museum
  Belgium the Ministry of Culture 
  Yamaguchi Prefecture
  Ogori City Culture Material Museum
  Masuda City

関連情報 2007.2 2005.10 2005..10 2004.10