Work List

"ゆらぎ"の絵画で人間の性と世界の有様を表現する気鋭画家・黒宮菜菜 ー
VOCA展での大作を携えノマルで2年振りの個展を開催

前回2018年のノマルでの初個展以降、昨年の大原美術館の若手作家支援事業「ARKO」招聘と同館での作品発表や、今年3月に開催されたVOCA展2020への参加(佳作賞受賞)など、着実に作家としてのステップアップを果たし、全国的にも多くの注目を集めることとなった黒宮菜菜。

黒宮が描く境界が曖昧で幻想的なイメージは、見る人の想像力を喚起させ、曖昧であるが故により強い印象を脳裏に焼き付けます。また画中の絵具が流れた痕跡からは、様々の移ろいが美しくまた儚くも想起させられます。
今展では黒宮が以前より関心を持っていたという言葉、「カタストロフ」をテーマに、今年のVOCA展で発表した200号の大作の関西での初公開や、新たなイメージ展開として「崖の上」「橋の上」シリーズの発表など、現在の充実した制作活動を反映した意欲的な展示内容となります。

今後のさらなる活躍に期待のかかる気鋭作家、黒宮菜菜の新作展にご注目ください。


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作家コメント

『カタストロフの器』によせて

「カタストロフ」とは、予期せぬ破滅や悲劇を意味する言葉であるが、そこには、破滅や破綻があったからこそ未来の再生や生命の華やぎを想起する契機としての意味も含まれていると考える。悲劇を転換させる起点としてあるのもまたカタストロフではないだろうか。
今回の展覧会では、このカタストロフとそれを受ける「器」という言葉をタイトルに入れた。わたしの近年の油彩作品には、キャンバスの周りに額縁のような形態の厚い絵具層の土手がある。これは、キャンバスを寝かせた状態にして、画用液を上から注ぎ込んだとき、液がキャンバスの側面からこぼれ落ちてしまわないように導入した方法である。制作の過程上表れたこの土手は、ヒタヒタに注いだ画用液を留まらせる役目を果たしており、その姿はまるで器のようだ。よって、タイトルにある「器」は、わたしにとっての絵そのものを意味する。
カタストロフが絵の中にある状態。
わたしの絵は、ある種の物語性（小説、悲劇、喜劇、登場人物、人間の性、生と死）をモチーフとしているが、絵具で描いたイメージは画用液の侵入によって消えたり、滲んだり、ぼやけたりと破綻を繰り返す。予測のつかないイメージの崩壊と、それを別の形へと再生しようとする自身の意思。その相互関係によって絵は完成していく。カタストロフの状態が物語という側面と技法的な側面との両方を孕んで絵の中で蠢いている感覚である。

本展覧会では、新しいイメージの展開として「崖の上」シリーズと「橋の上」シリーズも発表する予定だ。これら一連のイメージは、サスペンスドラマによく登場する崖の上でのクライマックスシーンや物語に転機が訪れる橋の上のシーンから着想を得たものである。追う者、追われる者、暴く者、語りかける者、思いとどまる者、とどまれない者、傍観者。そして秘密や告白や挫折や希望。人間の性が様々な形で行き交う場所。メタファーとしての崖の上と橋の上である。

黒宮菜菜 Nana Kuromiya


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Nana Kuromiya, an up-and-coming painter who expresses human nature and the state of the world with "Yuragi (Fluctuation)" paintings.
She will hold a solo exhibition at Gallery Nomart for the first time in two years, with her spectacular large-scale work exhibited at the VOCA Exhibition 2020.

Since her first solo exhibition at Gallery Nomart in 2018, she was invited to the young artist support project "ARKO" organized by Ohara Museum of Art in which she exhibited her works, and this year in March, participated in the VOCA Exhibition 2020 (received the Honorable Mention Award). Nana Kuromiya has made steady progress as an artist and has received much attention nationwide.

Kuromiya's fantastical images painted with vague boundaries arouses the imagination of the viewer, and because of their ambiguity, her works leave a stronger impression to the mind. In addition, the traces of the paint flowing evoke the beautiful and ephemeral stages of the painting in its various transitions.
The exhibition revolves around the theme "Catastrophe", a word Kuromiya has been interested in from before. This will be an ambitious exhibit that reflects her current fulfilling creations, such as the spectacular large-scale painting exhibited at this year's VOCA Exhibition which will be the first time to be shown in the Kansai area, and, her new works including "On the Cliff" and "On the Bridge" series as a development of new images.

Please pay attention to this exhibition of new works by Nana Kuromiya, an up-and-coming artist whose further success is greatly anticipated.


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Artist's comment

For the “Vessel of Catastrophe”

"Catastrophe" stands for unexpected destruction and tragedy, but I think this word also serves as a trigger to evoke meanings of future regeneration and the splendor of life which is brought as a result of such ruin and failure. Furthermore isn't catastrophe the starting point for transforming tragedy?
For the title of this exhibition, I included the word "catastrophe" and as its receiver, "vessel". My recent oil paintings have a thick paint layer mound around the canvas in the shape of a frame. This is a method I employed to prevent the painting oil from spilling out from the sides of the canvas when it is laid down and oil is poured from above. The paint layer mound which appears during the production process, sustains the liquid that has been poured in just enough to cover the surface, and functions like a vessel. Therefore, the "vessel" in the title means to me the painting itself.
The state where catastrophe is in the painting.
The motifs of my paintings come from a certain kind of narrative (novel, tragedy, comedy, characters, human nature, life and death) and these painted images repeatedly collapse as they disappear, smear and blur due to the penetration of the painting oil. There is the unpredictable collapsing of the image and my intention to regenerate it into another form. This mutual relationship is what completes the painting. There is a feeling that the state of catastrophe is wiggling in the painting by its encompassing of both aspects, the narrative and the technique.

In this exhibition, I will also present the series "On the Cliff" and "On the Bridge" as a development of new images. These series were inspired by the climax scenes on cliffs that often appear in suspense dramas and scenes on bridges which usually mark a turning point in the story. Those who chase, those who are chased, those who disclose, those who speak, those who hold back, those who do not stay, and the bystanders. And the secrets, confessions, frustrations and hopes. A place where human nature comes and goes in various ways. On the cliff and on the bridge, as a metaphor.

黒宮菜菜 Nana Kuromiya