ARTIDE Saki Fujikawa
Born in Tokyo in 1990
2013 Graduated from Tama Art University, Department of Painting, Major in Oil Painting
I create works based on my interests and questions born from my surroundings and conversations. He mainly publishes many pictorial expressions that convey people's intentions.
Since my solo exhibition ``Additions to Traces'' held in the fall of 2020, in which I drew on the belongings of others, my interest in ``the people living right in front of my eyes'' has become even stronger, and I am currently focusing on how these people live their lives. He composes them into parts of his works and repeatedly records (creates) them in real time as a form of the world.
He agrees with the words ``to live is to paint,'' which has been said by numerous painters, and works every day in his atelier.
A solo exhibition is scheduled for spring 2022 in Japan (Tokyo) and China.
Wallet Shoulder-FUJIKAWA SAKI “TIDE”
Why did I start expressing it?
It all started around 2004 when I used my parent's mouse to post on an Internet drawing bulletin board ( a bulletin board with simple drawing tools ) .
I was only able to draw simple things like rabbits and apples, but I learned the joy of meeting complete strangers through things I made with my own hands, and the fun of receiving other people's creations with my own senses. I woke up.
At the time, I enjoyed interacting with strangers on the other side of the screen, feeling like it was an escape from the studies I had to do as a junior high school student, but when I look back on that time as an adult, I realize that everyone I think it was an important time for me, as I was able to genuinely look inside with peace of mind at that moment when I was freed from the shackles of my ``life'', and because of that I was able to return to reality.
What do you want to express with your work?
Assuming that all living people are people who "should" live, I am taking on the challenge of including all people as objects of observation and continuing to capture the "present" itself in front of my eyes as a recorder.
Continuing to layer paint to bring it to completion is a process of making repeated detailed choices, and what I see with my eyes and the words I receive influence everything I do with my hands on a daily basis.
Because oil paint dries slowly, it tends to interfere with the colors underneath ( past choices ) , and the muddy traces that cannot be hidden, the traces of life itself, are fragments of the infinite lives we repeat every day. And through the many new words that are born from others who look at the fragments, oneself is destroyed, reborn, and new discoveries are born. I would like to continue this lovely cycle in order to continue the act of ``drawing'' that I love to do even if I don't even know why.
What do you worry about other than spending time in front of your work?
I spend my time with my family. ``Creating'' facing a work is a ritual of pursuing the maximum beauty that one can create, and the more you express life, the more you come close to death, but ``life'' spent with your family is a peaceful time. My life at this stage is created by balancing these two things.
Where does the future of expression lie?
It cannot be predicted. I believe that if we learn to differentiate between ourselves and others and respect each other, we will naturally be able to express ourselves in beautiful ways. Up until now, I have seen this from many others, so as someone who is creating the future, I will continue to live each day without lying.
What do you expect from an expression similar to TIDE?
Since we have never created "things" necessary for daily life using materials that are rooted in human life, we do not know what kind of chemical reactions will occur when people with such abilities combine their efforts. , I'm really looking forward to it.
The fundamental impulse when creating things is ``the moment when oneself is destroyed and renewed by some kind of stimulus.''
I feel like I'm discovering the next brush stroke at that moment, and creating it feels like a repetition of that renewal.
I believe that all of the people living today will probably suffer injuries of various sizes at some point in their lives, and after overcoming them ( or even escaping them ), they will encounter a new version of themselves and the world that exists, and live out their limited lives. If we affirm all the traces of things that continue to live on, then we must acknowledge that, like the user of the object itself, ( despite the desire for the object to be used with care ) ``scars occur ( =living with objects ) .'' I think it would be interesting if something could be created with the premise of serving as proof of that person's life.
Thoughts put into this original drawing and work
The original drawing was inspired by the word ``turning the tide (reversing the formation)'' in the ARTIDE concept. Each person's life is ``created'' one by one through the repetition of small daily choices. Opportunities to make choices that might turn the tide and change your destiny are always rolling around in the world outside of you. The tide pattern on the wallet shoulder looks like the destinies of each item are intermingling and chemically reacting with each other. Jumping into a competition aimed at collaboration for the first time this time was a turning point in my life, an act that would change my destiny. And if there is a moment when the fragments of my creations touch the lives of the people who view them, even just a little bit, I think that will become a trend in which they will become mixed with my world. The original picture was created with the image of a blink of an eye, when the original ``predetermined'' destiny is destroyed and a new destiny is about to be created, the moment you witness this mixture. Wallet Shoulder depicts a ``someone'' who exists amidst these currents, sways and changes, and never stops striving to steer his destiny in his own hands.
I realized this for the first time during this project, but since it involved hand work, I couldn't really draw it as if it were mass-produced. Therefore, I draw with exactly the same density and force as my usual work. The quality of this collaboration in the form of ``Wallet Shoulder'' is unstable because no two pieces can be made the same, but on the other hand, there are definitely no two wallet shoulders in the world that are the same. Living with you, living with you, getting hurt, and not wanting to deny even that hurt, I placed the paint on the wallet shoulder, which would probably get scratched if I continued to use it.
I am creating this work with the hope that you and I can inspire each other, sometimes affirm our wounds, and meet at the tide of destiny.
2012 “Petit “GEISAI” #15 Jury Award Winner Exhibition Saki Fujikawa Solo Exhibition” Hidari Zingaro, Tokyo
2015 “Art synchronized with the daily life” d-labo Midtown, Tokyo
2015 “Perspectives on the New Generation 2015 Saki Fujikawa Exhibition” Galerie Tokyo Humanite, Tokyo 2016 “Kake Ikiru” Masataka Contemporary, Tokyo
2016 “Saki Fujikawa Solo Exhibition” Goldfish Space, Taipei
2016 “If it doesn’t break, it won’t be born” Art Complex Center, Tokyo
2017 “Present of the Crown” Picture book specialty store Aoneko Shobo, Tokyo
2017 “Saki Fujikawa’s Semi-Junk” Art Complex Center, Tokyo
2017 “Mantis Ax” Gallery ondo, Tokyo, Osaka
2018 “Squith for the Unknown” Gallery ondo, Tokyo, Osaka
2018 “Uncivilized Coexistence” Gallery Yukihira, Tokyo
2019 “Fault of Prayer” Gallery ondo, Tokyo, Osaka
2020 “Additions to Traces” Gallery Yukihira, Tokyo
2020 “Unfiltered Paint” River Coffee&Gallery, Tokyo
Solo exhibition scheduled in Japan and China in 2022
2011 “petit “GEISAI” #15 Jury Award ob Award”
2014 Received “TAGBOAT ART FES 2014 Special Jury Award Tetsuo Sugita (GALLERY MoMo) Award”
2014 Received “TAGBOAT ART FES 2014 Special Jury Award Taisuke Morishita (Art Lab Tokyo) Award”
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