笹田晋平  SASADA Shinpei

1984年 大阪生まれ
2007年 神戸大学 発達科学部卒


2007年 「Presentashion&Exhibition2007」/アートコートギャラリー、大阪
2008年 GEISAIミュージアム2/東京ビックサイト
2009年 GEISAI#12/東京ビックサイト
  「100 degrees Fahrenheit vol.1」/CASHI、東京
2010年 SPRING SHOW-Room with a view - ten artists, ten creations/Ohshima Fine Art
  ホメオカオスの油壺/Ohshima Fine Art
2011年 group exhibition “something shred” / Ohshima Fine Art
2012年 前田荘バロック / Ohshima Fine Art


2007年 トーキョーワンダーウォール賞 トーキョーワンダーウォール公募2007
1984 Born in Osaka
2007 Graduated from Kobe University, Faculty of Human Development


2007 ‘Presentation & Exhibition2007’ / Art Court Gallery (Osaka)
  ‘Tokyo Wonder Wall 2007 / Tokyo Metropolitan Government Office
2008 GEISAI Museum 2 / Tokyo Big Sight
  TWS-Emerging 109 ‘Fond de veau of the Lotus Sutra’ / Tokyo Wonder Site Hongo
2009 GEISAI#12 / Tokyo Big Sight
  ‘100 degrees Fahrenheit vol.1’ / CASHI (Tokyo)
2010 SPRING SHOW-Room with a view - ten artists, ten creations/Ohshima Fine Art
  ‘oilcup of Homeochaos’ / Ohshima Fine Art
2011 group exhibition “something shred” / Ohshima Fine Art
2012 ‘Maeda's flatlet Baroque’ / Ohshima Fine Art


2007 Tokyo Wonder Wall Prize (application for Tokyo Wonder Wall 2007)

しかし、画面は丁寧にタッチを重ねた精緻なもので一見リアルなのだが、よく見ると実はリアルでないことに気がつくだろう。それでも鑑賞者の眼は画面の美しさに魅了される。それは、リアルな彼の筆致が、“ハイパー”リアルというよりむしろ、かたちの理想化と空間への配置への執着を徹底させる という指向性を持った結果なのだ。絵画の中の造形や構図に絶えず気を配る笹田の態度は、非常に真摯でそして優しい。
「かたちをつくる」という芸術の基本を重視している点、また、制作に向きあう姿勢として“油画”としての形式美を追求する点、日本古美術からの引用 などから、笹田の創作は和洋の古典的な手法を踏襲している。しかし、この作品が、古典となっている日本“油画”に混ざって展示されていたら異質な気持ちを抱かせる。さりとて、昨今の映像的な感覚を持ったペインティングや表層を流れる“ライト”な現代美術の展覧会にあってもおそらく馴染むことはない。この「違和感」こそ、笹田作品の肝なのである。 思えば、日本が近代化に向かう時代に、新たにもたらされた西洋絵画を学習した当時の画家たちは、自国の伝統と外国文化の激しい葛藤の中で盛んに描いた。しかし、その結果、西洋風であるが西洋絵画と違う日本独特の土臭さをもった“洋画”が誕生した。それらは、「西洋絵画」にはない何かしらの力を持ったキメラであったはずだ。西洋絵画にも伝統的な日本絵画にも当て嵌められない作品。この辺りにも笹田の創作のヒントがあるだろう。

First of all, let’s take a careful look at the painting.
There is a woman in a silver pedestal. She doesn’t seem to pay attention to the innocent child by her side, nor does she look to the cattle on the other side. But she appears strangely beautiful, and in her face we can see a melancholic expression, but her thoughts are covered by a mysterious veil. Even though the ‘marbled beef robe’ that covers her slender body looks exquisitely beautiful.
In the right side of the picture hangs a cattle bleeding to death, its blood flowing down and vanishing into a spiral of smoke. The skin and the muscles of the cattle look highly realistic, due to the sand and plaster processing given to the canvas, as well as the dressed carcass on the left side of the painting.

At first glance, the canvas looks very real because of the careful touch of the author, but at a closer look the viewer will notice that, in fact, the picture is not real at all, even though the viewer’s eye is captured and fascinated by the beauty of the painting. This is the result of Sasada’s brushwork, that being more than ‘hyper-real’, it is of an obsessed nature regarding idealizing of forms and composition in space. This constantly attentive attitude towards modeling and composition is very sincere and gentle.

Not only from the point that that Sasada gives strong importance to the act of ‘giving form’, one of the basics of art, but also from his attitude seeking aesthetic beauty through oil painting, and the allusions to Japanese antique art that he makes, it can be said that Sasada’s works follows the stream in both oriental and occidental classical techniques. But, if this work were exhibited together with some classical Japanese oil paintings, it would be felt as being out of place. In the other hand, if the work were shown in an exhibition of more ‘light’ contemporary paintings, were more visual trend of these days reign, it would be a stranger also. This sense of strangeness is one of the essences of Sasada.
This brings me to the point that the painters that learned Western painting in the era when Japan was changing towards an occidental modernism, lived in a continuous internal conflict between the traditions of their own country and the new incoming Western cultures, and due to this, created a newborn style of Western painting that wasn’t at all like the original Western painting, and that had a distinctive rusticity. It was like a chimera that had a strange power absent in the ‘traditional Western painting’. They were works that could not be classified as either Western or Japanese paintings. This could also be a hint for Sasada’s creating process.

Then, I want you to look back again to the picture.
While keeping Japanese autochthony inside the frame, it also has the yearning feeling for the West, the respect for the art of all ages and cultures, and the love for the motif, and could not be said to be a Western painting, nor a Japanese painting, not real, nor contemporary, nor classic… It is a painting that denies any trial to categorization, sending the viewer to a never ending spiral of ‘uncategorization’.
This is the painting art of Sasada.




笹田晋平 創作・2011年

この絵画を目にして、何とも言えない不思議な気持ちになるのは自分だけであろうか。もしあなたが日本人なら、何を見るだろうか? いや、もし西方の鑑賞者であったら? という疑問を今はそのまま投じてみよう。

次に「Awakening Night(目覚めの夜)」と題されたもう一点は、夜中の12時を過ぎて、魔法が解けたシンデレラ。舞踏会に酔いしれた城はもう遠く、馬車はかぼちゃに、御者は馬に、馬は鼠に、付き人が犬に戻った。『夢のエネルギー』であった原子力発電所が爆発し、その一晩限りの幻影も一緒に解けてしまった。


SASADA Shinpei Works 2011

This time we are exhibiting three paintings of the young artist Sasada Shinpei.
First, lets take a look to
First of all, it is from "Shake Nehan-zu No.4 (Shake nirvana painting NO.4.)". This is one series that Sasada has been producing from a few years before: the "Shake Nehan zu (Shake nirvana paintings)". Needless to say, it is based on the buddhist picture "Shaka Nehan zu (Budda Nirvana painting)" where he plays with words, changing the word “Shaka”, that means Buddha for the word “shake”, that means salmon in Japanese. Not only the wordplay is present in the title, but also the vestment that Buddha wears in the picture is patterned with slices of salmon.
This time, the author, not being content with the concepts that has been creating in the past works, seems to be stepping forward to a new horizont of meditation, synthesizing elements of from Western and Oriental painting to try a duet of deeper meaning and chaos of thought.
For example, he is merging one of the most famous motifs of Western religious painting, “the Last Supper” with the climax of Oriental Buddhist painting, the "Nirvana painting". The main dish of the "Last Supper" is fish, and this time is analogically treated with the shake (salmon), which it is counted as one of the most typical breakfast meals in Japan. And, another point worthy of attention is that he has drawn the apprentices of Buddha in the surroundings as an expression of group.
I guess I’m not the only one that feels mysteriously strange at the viewing of this painting. If you are Japanese, what do you see here? Or, if you are a spectator from the West? Let's throw out these questions as they are for the moment.
This time, not only there is the continuing track in the work of Sasada, like the "Shake Nehan zu" , but also there is a new challenge this time. First of all "Deva". This means "Heaven part" of esoteric Buddhism in the Sanskrit language. The woman with the arms held up high is shown as a beautiful appearance though strong and severe, just like the Four Heavenly Kings trampling down a demon.

Moreover, the Buddhist goddess's physical beauty catches the heart of the author, that devotes all his energy to the form and composition of the painting. Actually, what she has holding in her hands is a rice plant from Tohoku, eastern region of Japan that has received the unprecedented damage of the tsunami due to the earthquake in last March.
Another work entitled "Awakening Night" depicts a Cinderella after midnight, when all the magic has dissolved in the air. The castle, still ecstatic after the ball, stands far away, but the coach is back as a pumpkin, and so all the carriage is transformed into its original form, the coachman to a horse, the horses to rats and the servant to a dog. Like a nuclear plant that was the ‘dreamt energy’, explodes and the one night illusion also vanishes in the air. However, this Cinderella is shown as a virile woman, with long powerful arms, dignified eyes, and masculine feet with long strong fingers. Might she being knowing all the ‘fairy tale trick’ from the beginning?
In her eyes showing a strong will and intention, it can be seen a wish of an artist, for a new future.

Well, the artist has developed a peculiar style that can be thought as a mixture of West and Oriental painting up to now. For instance, though being related to Western painting motifs, he has some characteristics that don’t allow him to be catalogued as Western painting.
For example, he has been giving interpretation to the character of the so-called "Western-style painting" of modern Japan, or some times has rubbed gypsum into the canvas to create cracks in the picture and give a texture similar to that of the old Buddhist paintings, or sometimes, though using traditional western perspective, constructs the picture with a strange composition that gives it a flatness like the set of a movie or a Japanese manga painting, an always seems to cut the relationship with the western painting.
Moreover, as he does including the images of the Four Heavenly Kings image in "Deva", there are touches of Japanese taste too, although, it has to be said, that the author doesn't have the “japonistic” taste that exists in the actual Japanese modern art world, because that are not the real intentions of Sasada, who gives much more importance to the aesthetics of the frame or the idealization of the forms in the picture, essencial elements of the painting.
Anyway, for us, that are used to categorize paintings almost inconsciently as Western or Oriental, modern or contemporary, and so on, it is something difficult to assimilate, as fundamental questions like ‘what is the West?’, ‘what is the Orient?’, ‘what is Japan?’, ‘what is contemporary?’ are thrown to us without any mercy. That can be said to be a result of Sasada’s equal point of view, assuming both Orient and West, modern and contemporary as even in value. Certainly, many different meanings are able to be read from his canvas and makes the interpretation difficult. However, these works are without any doubt the actual state of a young painter who sensitively and coolly watches himself. A young pioneer that is challenging art, wonders while advancing, and advances while wondering. Also the strong expression is there due to the torment of the young artist. It can be said that in these works, the true and straight attitude and the expression of his creativity are the real charms of the paintings. Shinpei Sasada is now struggling even more strongly, to go to a next dimension. Now viewers will be able to see there the figure of an a artist in its most sharp form.

笹田晋平 創作・2011年

此次我們將展出三件新銳藝術家笹田 Shinpei的作品。第一件,是來自《鮭魚涅槃》系列的《鮭魚涅槃4號》(Shake nirvan painting NO.4.)。這件作品是笹田一直在創作的系列作品《鮭魚涅槃》中的一件作品。這個系列作品根據佛教的畫作而創作。藝術家藉由文字遊戲,將佛陀改為鮭魚(日文的佛陀「Shaka」字與鮭魚「shake」相近)這種文字遊戲不只被用在名稱上,藝術家也刻意的將佛陀身上披的薄袍化為鮭魚片。


舉例來說,笹田融合了西方最受歡迎的宗教繪畫主題《最後的晚餐》與東方的佛教畫作《涅槃》。《最後的晚餐》中,桌上的主菜是魚,然而這次藝術家用類比的方式,在盤中置入了日本人最常當作早餐的鮭魚 。同時,另一個值得注意的特色在於他將跟隨佛陀的人視為一個群體。我想我不會是唯一一個在觀賞這幅畫時感受到一股謎樣的奇異感覺。如果你是日本人,你在畫作中看到些甚麼?
這一次,我們不但可以看到笹田一貫的風格,一如《鮭魚涅槃》,還可以看到另一件挑戰觀者視野的《神》。 「神」代表梵語中佛教密宗所指的極樂世界。化作終將雙臂舉高的女人,雖然看來強壯且嚴厲,但是有著美麗的容貌,就如同四大天王在降伏惡魔一般。藝術家為了表現出女身菩薩的美貌,在雕琢上下了不少功夫。事實上,菩薩手持著日本東北地區所出產的稻米,東北地區正是在三月份時因地震受到海嘯摧殘的區域。






在這位年輕藝術家的作品中可以感受到他因為自身遭遇而提出的強烈聲音。在這些作品中,真實且直接的表達方式及他的創意正是引人入勝之處。笹田現在更加奮力地要開創出新的範疇。 觀賞者將可拭目以待一位年輕藝術家更為尖銳的意我表現。