西村大樹 / Daiki Nishimura

Solo Exhibitions

2018
”Wildfire” spectrum gallery, Osaka
2017
“Unmeasurable weight of death which is becoming lighter” Honen-in Temple, Kyoto
“VISIBILITY : INVISIBILITY” spectrum gallery, Osaka
2016
“GATE” spectrum gallery, Osaka
2015
“White rain” Honen-in Temple, Kyoto
“Black rain” spectrum gallery, Osaka
2014
“In the sea of glass fragments” Honen-in Temple, Kyoto
“The sun and night of bone” spectrum gallery, Osaka
2013
“After the Explosion of Horizon” Honen-in Temple, Kyoto
“Same day as yesterday” spectrum gallery, Osaka
2012
“The world always lies in the quiet night inside the mirror” Sentoku-ji Temple, Osaka
“Moon & Sun” Honen-in Temple, Kyoto
“Filled with now away from now” spectrum gallery, Osaka
2011
“Who is he?” Honen-in Temple, Kyoto
” ” Fugen-in Temple, Koyasan, Wakayama
2010
“The flowing river never stops” Honen-in Temple, Kyoto

Group Exhibitions

2018
“Jeunes artistes émergents” GALERIE Akié Arichi, France
2017

“Jeunes artistes émergents” GALERIE Akié Arichi, France
2016

spectrum selection 2016, Kyoto
2015

UNKNOWN ASIA ART EXCHANGE OSAKA 2015, Osaka
2014
“Winter Luxe”, Osaka
“Three Person Show” spectrum gallery, Osaka
2013
“Painting & Ceramic Two Person Show, Daiki NISHIMURA, Osamu INAYOSHI” spectrum gallery, Osaka
spectrum selection 2013, spectrum gallery, Osaka
2012
“Transience: Beyond the Horizon” Japanese Friendship Garden / BALBOA PARK, San Diego, USA
2011
“Element: Water” spectrum gallery, Osaka
2010
“Tokyo Wander Seed”, Tokyo
2009
Three Person Show, Kita Museum, Nara
“Tokyo Wander Seed”, Tokyo

Permanent Exhibitions

Robert Yellin Yakimono Gallery, Kyoto

Art Fairs

2018

Wop Art Lugano, Carte Scoperte Art Gallery, Switzerland
2018

Affordable Art Fair / MILAM, Carte Scoperte Art Gallery, Italy
2017

PAD London 2017, Katie Jones Japanese Art, UK
YOUNG INTERNATIONAL ART FAIR ♯11 PARIS, GALERIE Akié Arichi, France
Wop Art Lugano, Carte Scoperte Art Gallery, Switzerland
Affordable Art Fair / MILAM, Carte Scoperte Art Gallery, Italy
2016

MASTERPIECE LONDON 2016, Katie Jones Japanese Art, UK
2015

ART SAN DIEGO 2015, spectrum gallery, USA
2013

ART SANTA FE 2013, spectrum gallery, USA

Awards

2016
Young Creators Award 2016, First Prize
2015

UNKNOWN ASIA ART EXCHANGE OSAKA 2015, Judges Prize
2009

Osaka University of Art Graduation Award, First Prize

Collections

AMAN RESORTS AMAN TOKYO
HOTEL PLAZA OSAKA　

Honen-in Temple, Kyoto
Sentoku-ji Temple, Osaka
Fugen-in Temple, Koyasan, Wakayama

Spectrum Gallery, Osaka
Robert Yellin Yakimono Gallery, Kyoto
Katie Jones Japanese Art, London
MASUDA GALLERY, Sydney

One of the reasons why I became interested in environmental issues as an artist, especially water circulation which is a very important factor for our environment, is my father’s influence. My father was a wild bird researcher before he became a severely disabled person. Fortunately, I spent a meaningful time with him for twenty years since he had a very free positive spirit despite of his disabled body. There are two things I learned from him; how important water is for the environment, and that everything is all related with each other.

He was an establishing member of the Osaka Nankou Bird Sanctuary, and spent all his passion for nature in this work. While I have been very proud of his amazing work, I also have nurtured an interest towards the nature around us.

After the great earthquake in 2011, my perspective of the world has completely changed. I thought about the environmental contamination in Japan and the world from this disaster. This happened because of the contradiction lying at the heart of our lives. Materialistic innovation and environmental pollution. All of our lives stand on this contradiction.

As an artist living in this world, I create the trigger for viewers to feel and understand that we are all related, and that gods can be found everywhere around us. I believe that our compassion towards trees, flowers, ocean, rivers, mountains and sky will change something.
As far as I live in this world, I will continue to make art in hopes for the future.

At a glance, Daiki Nishimura’s work may seem to be piece of exoticism, a depiction of the nature of this country and its wet climate using traditional methods. However, he pursues an original matière by throwing a textured medium of oil paint mixed with metallic powder and straw onto Japanese paper, like Anselm Kiefer of the 20th century Germany. This characteristic monochrome expression symbolically projects battlefields smoking with gunpowder, or even, catastrophic natural disasters. Nishimura is applying a new form to this country’s traditional assets.

(Public)