Summer Holiday: 2026.8.11 tue - 16 sun

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■ Talk Event & Opening Party
　 2026年7月18日 (土) 18:00 - *予約・料金とも不要
　 Talk：大西伸明 Nobuaki Onishi x 小崎哲哉氏 Tetsuya Ozaki (文筆家 / アーツ・プロデューサー）

■ Closing Live
　 2026年8月22日 (土) open 19:00 / start 19:30 -
　 charge : adv. 2,000円 / door. 2,500円 *予約制 / 定員30名
　 act : sara (.es) piano, perc.

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気配を唯一無二の宝石に置き換える錬金術師、大西伸明ー
ギャラリーノマルで7年ぶりとなる新作展

日常で目にする立体物 (日用品や工業製品、木・枝や骨等の自然物など)を型取り精密に着彩し、その表層をトレースした大小様々な立体作品で知られる美術作家・大西伸明。
その成型と塗装の技術の高さにまず鑑賞者の目は奪われますが、「質感をリアルにすることが目的ではない」と大西自身も述べているように、実存と不在の中間にあるわずかな隙間に着目し、オリジナル/複製という二元論的解釈の保留と再考を通して物事のありようを探るべく、精巧でありながら、それを見る人が感覚的に違和感、不穏さのようなものが残る立体や平面作品を数多く制作してきました。 これまでに国内外での発表を通して高い評価を獲得。今年春には美術の創作活動を通じて精神文化向上に多大の功績を残した作家に送られる京都美術文化賞を受賞しています。

ギャラリーノマルでは、若手作家の発掘・育成プログラム"Nomart Projects" (ゲストキュレーター：池上司氏)として2005年に開催した展覧会「collection」への参加から数えてはや21年。これまで計7回の個展を行ってきました。そのいずれの展覧会でも新たなテーマと課題を立て、自身の制作の幅の拡張とコンセプトの深度を深めてきました。また工房機能のあるノマルの特性を最大限に生かし、これまで多くの版画やマルチプル作品を協働で制作。前回2019年の個展では、「シワ」「デカルコマニー」「レリーフ」をキーワードに、『スループリンティング』という自ら編み出した版画技法を駆使して、ノマルの工房刷り師と共に新たな表現にチャレンジ。1点限りのオリジナル作品と再現性が求められる版画、その間を行き来するような印象的な作品が生み出されました。

元来論理的で緻密にコンセプトを練った上で制作に取り掛かる大西ですが、実際の制作に至っては、一点一点膨大な時間をかけ、手の感覚を頼りとした身体的な行為と過程を経て作品が作り出されます。その完成度は周知の通り。
前回展より7年ぶりとなる今展、『久しぶりに行うノマルでの展覧会、ここならではの特別なものにしたい』と大西自身意気込みを持って制作に取り組んでいます。今回は主に立体作品を中心とした新作の展示を予定。またノマルの工房とのコラボレーション作品にも挑戦中です。「透明へほどける」、かけがえのない渾身の新作を楽しみにお待ちください。

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「透明へほどける」

大切なものが詰まった宝箱を、ひっくり返してみる。
かつて前衛芸術家たちが試みたように、箱を裏返すことは世界そのものを反転させることに等しい。内と外が入れ替わり、世界すべてが宝物へと変わる。
ひっくり返した箱に宝物を重ね、その全体をさらに裏返しにする。
すると、宝物の形を感じとれる空っぽの空洞になり、また、少しズレた台座として現れてくる。
境界は消え、そこにはただ、透明な関係だけが残る。
さまざまな気配が確かに交わりながら、それらすらも、静かにほどけて消えていく。

大西伸明



Nobuaki Onishi: The Alchemist Who Transforms Presence into One-of-a-Kind Jewels
A New Exhibition at Gallery Nomart, Seven Years in the Making

Contemporary artist Nobuaki Onishi is widely recognized for his sculptural works of various scales, created by taking molds of everyday three-dimensional objects—ranging from household and industrial products to natural materials such as wood, branches, and bones—and meticulously reproducing and painting their surfaces.
Viewers are often first captivated by the extraordinary precision of his molding and painting techniques. However, as Onishi himself has noted, “the goal is not to recreate texture realistically.” Instead, his practice focuses on the subtle gap that exists between presence and absence. Through suspending and reconsidering the binary opposition of original and copy, he explores the nature of existence itself. The result is a body of sculptural and two-dimensional works that, despite their exquisite craftsmanship, leave viewers with a lingering sense of unease, ambiguity, or disquiet.
Through exhibitions both in Japan and abroad, Onishi has earned widespread critical acclaim. This spring, he was awarded the Kyoto Art and Culture Prize, presented to artists whose creative activities have made significant contributions to the advancement of spiritual and cultural life through the arts.

It has now been twenty-one years since Onishi first collaborated with Gallery Nomart, participating in collection (2005), an exhibition organized as part of the gallery’s emerging artist development program, Nomart Projects (guest curator: Tsukasa Ikegami). Since then, he has held seven solo exhibitions at the gallery. Each exhibition has introduced new themes and challenges, continually expanding both the scope of his practice and the depth of his conceptual inquiry.
Making full use of Nomart’s in-house workshop facilities, Onishi has also collaborated extensively with the gallery to produce numerous prints and multiple works. In his previous solo exhibition in 2019, he explored the themes of wrinkles, decalcomania, and relief, employing a printmaking method he developed himself called Through Printing. Working closely with Nomart’s master printers, he challenged the possibilities of a new visual language, creating compelling works that seemed to move back and forth between the uniqueness of an original artwork and the reproducibility associated with printmaking.

Although Onishi approaches his work through rigorous conceptual thinking and carefully constructed logic, the actual process of making each piece is profoundly physical. Every work requires an immense investment of time and is realized through a hands-on process guided by tactile intuition and bodily engagement. The remarkable level of finish achieved in his works is well known.
For this exhibition—his first at Gallery Nomart in seven years—Onishi has approached the project with particular enthusiasm, stating, “Since it has been such a long time since my last exhibition at Nomart, I want to create something truly special that could only be realized here.” The exhibition will primarily feature new sculptural works, while also including collaborative projects developed with Nomart’s workshop.

We invite visitors to experience these irreplaceable new works, created with extraordinary dedication, as they gently “unravel into transparency.”

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"Unraveling into Transparency"

I turn over a treasure box filled with precious things.
As the avant-garde artists once attempted, turning a box inside out is akin to inverting the world itself. Inside and outside exchange places, and everything in the world transforms into treasure.
Treasures are piled onto the overturned box, and then the whole is turned over once again.
What emerges is an empty hollow that allows the shape of the treasures to be felt, while also appearing as a slightly displaced pedestal.
Boundaries dissolve, and all that remains is a transparent relationship.
Various presences quietly intersect with certainty, and yet even those, too, gently unravel and fade away.

Nobuaki Onishi