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■画集『光、萌いづ』刊行にあたって | Jpanese | English |


木かげで

自分の眼でとらえ自然から学ぶ。自然の中で描く事は、まず素直な自分をみつめ、感じ、共鳴し、心を熱くする想いに満たされる。そんな過程を経て出来上がった作品を大切にしている。いつも絵を描く心の拠りどころと発露を求めその原点を探求している。
1994年のザルツブルグ留学は、各国から志ある者が集い、自由なモチーフで切磋琢磨する好機であった。ヤコボ・ボルゲス先生の授業は独創性に富み、各人の感性で創りあげていくことを求められ、新たな表現と視野を開くこととなった。
1996年北京の中央美術学院で、国際交流基金助成事業として展覧会を催し、学院の廣軍先生、内山直明交流基金京都支部長、小熊旭北京事務所長はじめ皆様のご支援を受けた。朋友、呉長江氏は、公私に渡る尽力で、中国の大学教授始め美術関係者と親交を深める機会を設けてくれた。しかも当図録に前言を寄稿してくれている。彼の博識ある助言と広やかな心を有り難く感じる。安念念夫人、ご子息呉昊君も支えてくれた。
1997年チベット取材を思い立ったのも、呉氏の薦めによるもの。彼の作品の中に住むチベットの素朴な人・風物・動物の深いまなざしが現実となって様々な問いかけをくれた旅であった。チベットでの宗教は生活そのものであり、訪れる人をも謙虚にさせる自然の偉大さがある。
1998年の個展−北京展そして聖玻璃の山ヘ−は、病で北京会場を見ることなく逝った父に報告すべく、実家近くのギャラリー・マーヤ(高槻)で催し、「桃の朝(あした)」に追悼の意をこめた。標高五千メートル以上の聖地は、高山病に悩まされたが、心は浄化された。
同98年モンゴル行は、北京展でお世話になった天津行旅船の楊敏さんも一緒で心強い旅であった。8月、日中の砂漠湖での制作は厳しく、日射病にみまわれた。その夜銀川で見た天の川や幾条の流星に、不思議な時空を体験することとなった。(作品「夜と夜−西夏王陵」)
大胆に躍動するもの、刻々と変容する光に興味を持っている。絵を始めるきっかけともなった人物は大切なモチーフの一つである。風景(風物)もそうである。大阪の文楽劇場へは通いつめて人形や舞台の序破急を追いかけている。毎年訪れる木曽の歌舞伎にも、楽屋に行っては談笑し、歌舞伎づけの制作の場になる。
今まで美術を通じて出会ったひとびとは、かけがえのない貴重な存在である。
常々お世話になっているマサゴ画廊様、また多方面で支援下さいます方々に、深くお礼を申し上げます。

渡邉 敬介


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In the shade of a tree

Perceiving with my own eyes and learning from nature; to draw in nature is at first to gaze on myself as I am, feeling, SymPathizing, and being filled with heart-warming wonders. I value works that have evolved through such a process. I always seek spiritual foundations and revelations by which to paint pictures, searching where they come from.
Residing on Bali Island in 1989 started out with a wonderful experience of life in the forest of Ubud village: "...Nature, in the morning and at dusk, is really impressive. Every morning and evening, young girls come by offering pretty flowers and beautiful rice cake sweets. The way they pray is awe-inspiring and refreshing. Gods and nature exist, and let humans live. How deeply tied to nature humans are!"
Studying at Salzburg Art Academy in 1994 was a good opportunity where people with ambitions from every country gathered and applied themselves to work with free motifs. Professor Jacobo Borges' class was rich in originality and demanded that everyone create with individual sensibillty, which made me develop new expressions and horizons.
In 1996, I had an exhibition at the Central Academy of Fine Arts, Beijing as a project for the Japan Foundation thanks to support from people like Professor Guang Jun of the Academy, Director Naoaki Uchiyama of the Kyoto Branch of the Foundation, Manager Akira Oguma of the Beijing Office of the Foundation, and others. My friend Wu Changjiang busied himself for my interest in private and public matters. His help offered me an opportunity to deepen my friendship with Chinese people, such as university professors and art lovers. Moreover, he provided this book with a foreword, expressing his knowledgeable insight and generous advice which I deeply appreciate. His wife, An Nian-Nian and their son, Wu Hao, also supported me.
The idea of 1997's excursion to Tibet was from Mr. Wu's recommendation. Simple people, scenery and animals with profbund gazes in Tibet live in his works, which became real on this tour, and filled me with many wonders. The religion there is life itself, and possesses the humbling greatness of nature.
1998's Private Exhibition, "Beijing Exhibit and on to the Sheng Boli Mountains" was meant to be a report to my father who had passed away from illness without seeing the exhibit, so it was held at Gallery Marya near his home in Takatsuki. I intended my work, "Peach Morning" to pay tribute to his memory. The sacred place tormented me with its over 5,000m altitude, but it tremendously cleansed my heart.
Also in 1998, my trip to Mongolia was with Yang Min who helped me in the Beijing Exhibition, and made me feel secure. Working under the August sun caused me to suffer from heatstroke, however. The Milky Way and some streaks of shooting stars I saw over Yinchuan that night gave me a mysterious experience of time and space (Work: "Nacht und Nacht, Mongolia").
Lively things that move boldly and light that changes every moment interest me. Human figures are important motifs because they offered me an opportunity to start painting. So are landscapes. I frequent the Bunraku theater in Osaka to pursue its artistic modulation of the puppets and the stage. I also visit Kiso to see Kabuki every year, chatting in the dressing room, which eventually becomes my workplace immersed in Kabuki.
The people whom I met through art are invaluable assets. I am grateful to Professor Yoshinori Matsuyama for his preface. I would also like to express my deep gratitude to Gallery Masago, who always helped me, as well as others who supported me in many ways.

Keisuke Watanabe


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