松井照太 Shota Matsui
Profile
1994年京都生まれ。2018年京都市立芸術大学彫刻専攻卒業。
主な個展に「宙をゆく。」(haku kyoto/京都/2022)、「Macguffin – 変転するイメージ -」(Gallery TOH/東京/2021) 主なグループ展に「伝統のメタボリズム〜見立て〜」(SHUTL/東京/2024)、「和を以て物語をなす」(瑞雲庵/京都/2023)、ATAMI ART GRANT」参加展示(薬膳喫茶gekiyaku/熱海/2021)「ウィルへルミーの吊り板」(MEDIASHOP/京都/2020)など。
Born in Kyoto in 1994. He received his BFA in Sculpture from Kyoto City University of Arts in 2018 and is currently based in Kyoto.
Solo exhibitions include “Walk through the air.” (haku kyoto, Kyoto, 2022) and “Macguffin -Changing Images-” (Gallery TOH, Tokyo, 2021). Group exhibitions include “Metabolism of Tradition -Mitate-” (SHUTL, Tokyo, 2024), “Weaving a story in harmony” (Zuiun-an, Kyoto, 2023), “Wilhelmy Plate” (MEDIASHOP, Kyoto, 2020), and participation in the “ATAMI ART GRANT” (Yakuzen cafe gekiyaku, Atami, 2021)
Experience
主な個展
2022年「宙をゆく。」haku kyoto/京都
2021年「Macguffin – 変転するイメージ -」Gallery TOH/東京
主なグループ展、アートフェア
2024年「伝統のメタボリズム〜見立て〜」SHUTL/東京
2023年「和を以て物語をなす」瑞雲庵/京都
2022年「良い形_石」LEESAYA/東京
「norm Art & Design Festival」W大阪/大阪
2021年「ATAMI ART GRANT」参加展示 薬膳喫茶gekiyaku/熱海
「DELTA 2021」シーサイドスタジオCASO/大阪
2020年「ウィルへルミーの吊り板」MEDIASHOP/京都
Solo Exhibitions
2022 “Walk through the air.” haku kyoto (Kyoto)
2021 “Macguffin -Changing Images- ” Gallery TOH (Tokyo)
Selected group exhibitions and Art Fairs
2024 “Metabolism of Tradition -Mitate-” SHUTL (Tokyo)
2023 “Weaving a story in harmony” Zuiun-an (Kyoto)
2022 “Good shape_stone” LEESAYA (Tokyo)
“norm Art & Design Festival” W Osaka (Osaka)
2021 Participated in “ATAMI ART GRANT” Yakuzen cafe gekiyaku (Atami)
“DELTA 2021” Seaside studio CASO (Osaka)
2020 “Wilhelmy plate” MEDIASHOP (Kyoto)
Statement
石の自然美や重さに興味を持ち、作品の中に無加工の石をそのまま取り入れる立体作品を中心に制作。制作において、石を観賞する水石のように作品中の石がどう映るかを意識し、伝統や形式のある水石に対して現代のマテリアル(樹脂やガラス等の製品)を使い新たな角度から石を愛でる。石の重量が増すごとに支持する事が難しくなり、作品の制作難易度が上がるため、ヤップ島の石貨や秤量貨幣を参考に石の重さで作品価格を決めている。
With his fascination in the natural beauty and weight of rocks, Matsui incorporates unprocessed rocks into his sculptural production. Like in the traditional art of suiseki where rocks are aesthetically appreciated, he is conscious of how the rocks will present themselves, but uses modern materials (such as resin or glass) in his process as opposed to the tradition and form of suiseki, to admire the rocks from a different angle. As the mass of the rock increases it becomes more difficult to support, and because the difficulty of the production increases, the price of the artwork is dependent on the mass of the rock, just as the Yapese stone money or other currencies by weight.
Testimonial
水石は日本の美の究極とも言えるのかもしれない。長い年月をかけできた自然石を風景に見立て愛でるという文化は現代においても新鮮な感覚を覚える。松井は石を置く舞台装置として昔から使われてきた水盤ではなく、流動が止められたように見える素材、アクリル、ガラスなどを使い、その構造体に設置することで宙に浮かせ、多視点から見せる試みをしている。販売の方法もユニークで、ヤップ島の石貨などを参考にしており石の重さで作品価格を決めている。彼の手法は今後の作品展開を多方面に想定でき、今回のフェアで更なる発展を期待している作家である。
（鬼頭健吾）
Suiseki may be described as the ultimate form of Japanese art. The culture of perceiving natural rocks formed over long periods of years as landscapes and appreciating them evokes a fresh sensation even in the present. Instead of using a water basin as the stage for setting the rock as has been since the past, Matsui uses materials such as acrylic and glass in which the flow appears to have stopped; by installing in this construction he elevates rocks into air, attempting to show them from multiple viewpoints. His method of selling is also unique; based on the Yapese stone money he decides the price of his work on the mass of the rock. His methodology shows potential for future development in many directions, and he is an artist I anticipate the further growth for with this fair.
（Kengo Kito）