大庭大介 / Daisuke Ohba

1981 Born in Shizuoka, Japan

2013~ Kyoto University of Art and Design, Graduate School of Arts and Associate Professor

2007 Graduated from Oil Painting Course, Fine Arts Department, Tokyo National University of Fine Arts and Music

2005 Graduated from Kyoto University of Art and Design

SELECTED SOLO EXHIBITIONS

2017 “Daisuke Ohba Solo Exhibition” SCAI THE BATHHOUSE, Tokyo

2012 “Daisuke Ohba Solo Exhibition” SCAI THE BATHHOUSE, Tokyo

2011 “The Light Field” Daiwa Anglo-Japanese Foundation, London

2009 “The Light Field” SCAI THE BATHHOUSE, Tokyo/magical ARTROOM, Tokyo

SELECTED GROUP EXHIBITIONS

2017 ”White power of expression” SHIZUOKA Prefectural Musium of Art,Shizuoka

2016 “‎New Collection Exhibition” SHIZUOKA Prefectural Museum of Art,Shizuoka

2015 “Taguchi Hiroshi Art Collection – A Walk around the Contemporary Art World after Paradigm Shift” Museum of Fine Arts, Gifu

2014 “NATURES DUET:SELECTED WORKS BY JORGE MAYET＆DAISUKE OHBA” FAJAM FOUNDATION, Dubai

2013 “The Islands of the Day Before” Kuandu Museum of Fine Arts (KdMoFA), Taipei

2012 “Hyperarchipelago, Light of Silence” Aomori Museum of Art, Aomori

2011 “ECOSOPHIA: Art and Architecture” Dojima River Biennale 2011, Osaka

2010 “Toki-no-Yuenchi” Nagoya/Boston Museum of Fine Arts (N/BMFA), Aichi

Takeuchi’s infamous chain series is a series of paintings that found their idea from the video game “Puyo Puyo”. He has succeeded in merging the “structure of games” and the “modernism of paintings = games” like a nest. The shapes that are “all-cleared”, create an empty surface as ground zero in the viewers’ minds. Basically, they are made to think of an empty plane. Takeuchi’s paintings are the separated twin of a “good and introspective painting”, and are at a new stage of evolution suggesting the possibilities of modern painting.

(Yoshihiro Takeuchi)

As a characteristic of Mizutani’s work, he uses a very unusual method by placing a copied image of paintings by the masters of the 20th century on the back of the panel, to squeeze out paint based on the shapes and colours of the image from the back, as if waste is being emitted. With the small size of the paintings, the paints emitted from the duplicated history gain physical shape, showing the self-reflections within the artist, and look as if entrails have been thrown up. Mizutani’s paintings are like wandering zombies in search for life, in a time where information leaves from the material body.

(Masato Mizutani)

Transparency and structure are the keywords of Wada’s paintings, and the independence of the painting as an object, and the information ‘skin’ that covers it do not lie in a series, but in parallel. On the other hand, the artist’s pursuit towards mediums is a very materialistic fetish, which is similar to the bodily nature of expressionists. However, although they have somatic traces, they are extremely austere. His paintings repeat the visible and invisible, while deep transparency and cold bodily nature coexist.

(Naosuke Wada)