マコト フジムラ 個展 -11月の花-


2016/11/8(火) – 11/19(土)

トークショー 2016/11/9(水) 16:00 –  聞き手:小野塚 力(国文学研究者・日本キリスト教文学会会員)
パーティ   2016/11/10(木) 18:00 –






マコトフジムラ Makoto Fujimura  www.makotofujimura.com

1985年から1992年まで、東京藝術大学大学院 博士課程・加山又造、稗田一穂研究室にて修学する(文部省国際奨学生)。国際的な芸術活動により、2003年から2009年まで、ホワイトハウス文化担当顧問に任命され、アメリカ政府の文化芸術推進方針の策定に携わった。2015年よりロサンジェルスにあるフラー神学校の文化施設であるブレム・センターのセンター長となる。著書には、“Refractions: A Journey of Faith, Art and Culture,”(訳:リフレクション:信仰、アート、文化への旅)は、あらゆるバックグランドを持つ人々の会話、文化や芸術、人間論に対する瞑想を束ねたエッセイである。また、クロスウェイ出版が、欽定訳発刊400年を記念して発刊した「4つの福音書」には、フジムラ氏が聖なる御言葉をモチーフとして描いた絵が挿入されている。2011年にはFujimura Instituteを開設。ベルへブン大学(2011年)、バイオラ大学(2012年)、ロアノークカレッジ(2015年)より、芸術名誉博士号が与えられた。2016年5月アメリカで「Silence and Beauty」を出版。日本語版は晶文社より「沈黙と美」として2016年冬に出版予定。










小野塚 力(国文学研究者・日本キリスト教文学会会員)




Currently, we are hosting the solo exhibition of Makoto Fujimura ‘November Flowers’ at Nishiogi, Sukiwa. Mr. Riki Onozuka, a researcher of Japanese literature, gave us a review of the exhibition. Please take a look if you are interested in the exhibition, the artist, or if you have already seen the exhibition.
Mr.Onozuka also helped us as an interviewer during the talk show on the 9th. The pictures were taken during the talk show.


Regarding ‘November Flowers’ by Makoto Fujimura

Except for those grown in greenhouses, flowers that blossom in November are quite rare. November is a season, and a flower is a living thing. These two words with contrasting properties were chosen as the title for this exhibition. Even if there was a flower which blossomed in November, it would probably die very quickly. It may be only an instant, but flowers do blossom, and they certainly did blossom. I still wish for flowers to blossom even if it is an ephemeral event. While the artist is painting a flower, he is expressing something other than a flower.

I had the pleasure of being shown the art book ‘Gloden Sea’ from Mr. Makoto Fujimura. Mr. Makoto Fujimura is an artist of Japanese art. The art work in the book was something different from Japanese art, while still being made from Japanese art materials. The initial works included paintings which I could clearly identify such as landscapes, but gradually everything harmonized, and I could see the process where it eventually settled as red, blue, gold, and black. As I previously saw in the “A Window of God” (note: Mr. Onozuka first encountered Mr. Fujimura’s work at a collector’s house, where “A Window of God” was showcased), it seems that the artist is trying to trap something into, and through, the art work: I feel that it is a world which cannot be expressed in words, and something which cannot be defined. An artist who sees such a world knows that such a reality cannot be shared readily and that can only be expressed indirectly.

In ‘November Flowers’, the artist selects a world which matches the materials such as kakejiku(hanging scrolls) and washi (Japanese paper). As a result, the atmosphere that surrounds the exhibit space is rich in Japanese history, like a tea room (chashitsu). I feel that it is a result of the artist grasping the Eastern essence through the materials: an implication from blank spaces which is created by omitting and negating.

Blank spaces bring out silence in an art work. In order to compensate for this silence, the observer starts to analyze the work from different angles. As a result, different deep emotions develop for each person, and each observer creates a different story behind the art work.

The essence of abstract art lies in this ambiguity.

The world of ‘November Flowers’ that I absorbed was another world which was felt through flowers, and that became like a light that shone from a far distance. A flower faces the sun at least once before it dies. I see this immediate encounter as the artist’s consciousness toward hope, resistance and prayer. The work invites the viewer to the artist’s thoughts filled with such a potential.






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