Planar and Solid Sculpture Division: Mamoru Hirata

"My IKEA painting work (vase, eyelashes, and shelf) / My Bacchus (Green)"

-Congratulations on winning the grand prize. Please tell us how you feel right now.

Thank you so much for this wonderful award. I was very surprised when I received the notification that I had won the grand prize.

- What inspired you to choose the path of becoming an artist?

I feel that thinking about and studying art enriches my life, even if only a little.
I wasn't particularly good at drawing, but I really enjoyed looking at artwork in museums and other places.
At one point, I realized that the creators are the closest to the work itself, so perhaps if I became a player, I could get the closest and most realistic feel for the production side.
My initial motivation was the thought that it might improve the resolution of my appreciation of artwork.
After that, I spent time studying at an art preparatory school and then honed my skills at an art university.
However, after graduation, I realized I was walking through a hazy fog without clear goals, standards, or objectives. But now I think this is the reality of being a creator, and that I've truly become a creator rather than just an art fan.

- What motivated you to apply this time?

First of all, I found it appealing that they would actually judge a work of the relatively large size, 150-gou.
Also, I held an exhibition in May at the studio where I usually create my work, and I happened to be painting a 150-size canvas at the time. The maximum size for submissions was 150-size, so the timing was perfect.
Another piece, "My Bacchus (Green)," which is secured with steel fittings, was created when I participated in BankART AIR 2023 SPRING OPEN STUDIO from April to mid-June. At that time, it was exhibited in a different format, but I had a hunch that it would go well with the 150-size painting, and I'm glad that it led to a positive reception.

—Could you tell us about the concept behind your work and the thoughts you put into its creation?

My IKEA painting work (vase, eyelashes, and shelf):
(Especially high-end) furniture is intended for use over the medium to long term. In Japan, for example, a paulownia wood chest of drawers is said to last about 100 years with repairs and regular maintenance. However, IKEA furniture differs from typical assembly standards because it is designed to reduce costs through self-assembly by the buyer and is intended for short-term use. As a result, it is impossible to reassemble the furniture after disassembly, which may void the warranty or prevent it from being removed from the house when moving.
I was intrigued by the contradiction and incongruity of depicting furniture (and surrounding interiors) that are not intended for long-term use, using oil painting, a recording medium that can be preserved for a long time if the environment is right, and created this work.
Furthermore, I find it interesting that when you go to an IKEA store, bottles, artificial flowers, lighting, and other items are already set up as if they were motifs, creating a space where motifs that are difficult to manipulate are permanently installed.
My Bacchus (Green):
As the title suggests, this artwork is related to alcohol, but first of all, this piece allows you to control the horizontal and vertical alignment of the canvas by turning the four handles attached to the steel fittings.
In typical painting installations, the horizontal and vertical alignment of the painting with the building's walls and floor is determined using tools such as spirit levels. (This also determines the placement of the caption.)
However, every viewer has their own physical differences, and even if the lines are numerically horizontal and vertical, they will perceive subjective and psychological distortions and discrepancies. This is true even for me, the artist; it's natural that even if the lines are numerically horizontal and vertical, they don't always feel straight. Furthermore, if there are unintended distortions in the pictorial space (perspective and color values), the brain that perceives them may be affected and experience optical illusions, so utmost care is necessary. Therefore, I will install the artwork using the following process.
1. Attach the mounting hardware to the wall. (It's okay if the painting itself is already fixed in place.)
2. Use a laser level or digital angle meter to measure the horizontal and vertical alignment of the fittings. (Measure at least four points: top, bottom, left, and right.)
3. After confirming that the hardware is horizontal and perpendicular to the wall or floor, turn the four handles to measure the horizontal and perpendicular alignment of the canvas in the same way as with the steel hardware.
4. After ensuring the wall, hardware, and canvas are horizontal and vertical, I, as the installer, stand in front of the artwork and adjust the four handles until the canvas is in a position that I subjectively consider to be horizontal and vertical, making fine adjustments until the painting feels comfortable.
Through the process described above, viewers can appreciate the painting while having my sense of horizontal and vertical lines as the foundation.
Furthermore, Bacchus, the subject of the painting, is the god of wine and a drunkard. I myself am very fond of alcohol, and the theme of the work also includes enjoying the distortion of horizontal and vertical perception that occurs when the semicircular canals are disrupted by alcohol.

- Could you tell us about the aspects you focused on the most, and any difficulties you encountered?

It had actually been about 10 years since I last painted using oil paints as a medium, since my year as a ronin (a student studying for university entrance exams), so it was a continuous process of trial and error. I'm not going to get too technical about how to use the paints, but I struggled to find a way to incorporate my passion into an independent form of expression using oil paints, rather than just using them in a hobbyist way. So, the points I focused on were, of course, the brushstrokes characteristic of oil paints, and the hardness and fluidity of the paint when applying it thickly. I was particular about finding the right moment when just the right amount of pressure was applied to the canvas, such as glossy areas or textured paint.

- Please tell us about your future activities and goals.

I'm planning a solo exhibition sometime in the latter half of October.
In November, there will be an event called Super Open Studio, which showcases the studios of artists in and around Sagamihara that are not usually open to the public. I work at a studio called "Penguin's House Green," so I plan to exhibit my work there.
So, the first step is to prepare those two things.

- Please give a short message to everyone aiming to apply next year!

The perfect time to apply is when you think, "Maybe I should give it a try."
If you can express your own "feel-good" feelings through your work, you're sure to connect with people who will relate to it.
I am sincerely looking forward to encountering the next great work.

"profile"
Mamoru Hirata
Biography
Born in Saitama Prefecture in 1989.
Completed graduate studies in painting at Tama Art University Graduate School of Fine Arts in 2019.

Main exhibits
2018
Painting and Movement (Rough Dimension), Yotsuya Unidentified Studio, Tokyo
Exciting! Summer Shinbi Download Campaign, SHINBI GALLERY, Tokyo
Images may always want to be copied, Blan Class, Kanagawa
2019
BankART AIR 2019 OPEN STUDIO, BankART Station, Kanagawa
2022
The Thrill of Painting, HB.Nezu, Tokyo
2023
"A Wonderful Way of Applying Force," at the Uraraka Painting Festival, The 5th Floor, Tokyo
Scratch marks in the gaps, Penguin's House Green, Kanagawa
BankART AIR 2023 SPRING OPEN STUDIO, BankART Station, Kanagawa

Artist-in-residence
2019 BankART AIR 2019 0PEN STUDIO
2023 BankART AIR 2023 SPRING OPEN STUDIO

Awards
2017 Tama Art University Graduation Project: Ichiro Fukuzawa Award

Crafts Division: Haruka Mase

"Navel cushion"

-Congratulations on winning the grand prize. Please tell us how you feel right now.

This was my first time entering a competition, so I was surprised when I heard the results, but I was also very happy. It motivated me for future projects.

- What inspired you to choose the path of becoming an artist?

My motivation stemmed from wanting to dedicate my life to mastering a craft, much like my grandfathers who were a carpenter and a hand-painted sign maker. I chose lacquer because I was drawn to its fascinating properties and beautiful sheen, but I've also loved working with my hands since I was little, and the depth of the lacquer process drew me in completely. The world of lacquer is incredibly diverse, with so many techniques and materials to learn.

- What motivated you to apply this time?

I had been away from Kanagawa for about six years for further education and work, but I thought it would be a good opportunity to return to my hometown after a long time, given my career path, so I decided to apply. It was also around the time I decided to seriously pursue a career in lacquer art, so it was also a way to test my skills.

—Could you tell us about the concept behind your work and the thoughts you put into its creation?

I create artwork based on themes such as ambiguity, consciousness, and the boundaries of form. One day, I was sleeping with a cushion I had in my room, using it as a body pillow. When I held it in front of my stomach, I felt as if my body had been extended, and I thought it would be interesting if this cushion, like a human's, had a belly button... so I brought that idea to life. In reality, the shape of the cushion is fluid and does not maintain the taut state shown in the artwork, but I believe that lacquer has the power to fix ideal forms, so I captured a fleeting moment of ambiguity and turned it into a piece. I observed the belly button of a friend with whom I was living in a shared house at the time.
While lacquer is often associated with traditional crafts and tableware, I want to focus on the luster of this material and create humorous pieces that will bring a smile to people's faces.

- Could you tell us about the aspects you focused on the most, and any difficulties you encountered ?

This piece utilizes a technique called "roiro-age," a method of applying lacquer. To achieve this kind of luster, it's necessary to polish each of the approximately 20 layers of lacquer. Finally, every single tiny irregularity is polished away with a small piece of charcoal, and each polishing session takes several hours. After that, the entire piece is polished using the palms and fingers. It's an incredibly difficult process, but I'm proud of the meticulous attention I've paid to every detail, so I hope you'll take notice of this unique lacquer sheen.

- Please tell us about your future activities and goals.

I am currently enrolled in the Department of Cultural Heritage Conservation at the Tokyo University of the Arts Graduate School, where I am engaged in both creative work and research on the restoration of lacquerware. Both creation and restoration require a vast amount of knowledge about history and lacquer, and I hope to continue acquiring knowledge, honing my skills, and working with lacquer as both an artist and a restorer.

- Please give a short message to everyone aiming to apply next year!

The Kanagawa Prefectural Art Exhibition does not require the submission of a statement or anything like that; judging is based solely on the artwork. However, I felt that if you put your own unique touches into your work, it will be appreciated. The barrier to entry was low, making it easy to submit your work, so I encourage everyone to give it a try.

"profile"
Mase Kasuga
Biography
Born in Kanagawa Prefecture in 1998.
Graduated from Kanazawa College of Art, Faculty of Fine Arts and Crafts, Department of Crafts in 2021.
2023 ~ Currently enrolled in the master's program in the Department of Cultural Heritage Conservation, Graduate School of Fine Arts, Tokyo University of the Arts

Calligraphy Division: Masako Ueda

"Shinkansen (East Japan Version)"

-Congratulations on winning the grand prize. Please tell us how you feel right now.

At first, I thought it was a prank (laughs). Last year was my first time submitting an entry, and this is my second time this year, so I had always dreamed of winning one someday...! But I never imagined I would receive one so soon, so I'm extremely surprised.

- What inspired you to choose the path of becoming an artist?

I'm far from being an artist, and it's a bit embarrassing, but I think I really do love writing. When I was a student, I aimed to become a high school calligraphy teacher, but I changed my mind along the way, and during my single years, I managed to continue writing while working as a company employee. The main reason I've been able to continue this far is that I've been blessed with wonderful mentors and friends since my student days, and an understanding family.

- What motivated you to apply this time?

I feel a bit embarrassed to admit this, having lived in Kanagawa Prefecture for nine years, but I only recently learned about the existence of the Prefectural Art Exhibition, so I submitted an entry for the first time last year. Initially, I was very casual about it. Last year, my work was selected again, and I remember seeing the exhibition; it was very fulfilling with its wide variety of works on display.

—Could you tell us about the concept behind your work and the thoughts you put into its creation?

My son, who is now four and a half years old, is a train enthusiast, and I've been influenced by him to become more knowledgeable, so I'm also becoming a train-loving mom. As a result, I've been exploring ways to combine railways and calligraphy, and this piece is part of that effort. I read an interview with the writer Sawako Agawa, who named the Shinkansen Nozomi, and learned that her father advised her that "all the names of Japanese National Railways trains have been given using Yamato Kotoba (ancient Japanese words)." This inspired me to choose a waka poem that includes the name of a Shinkansen that my son also likes and write it in kana on a fan-shaped sheet of paper. This time, due to the size of the frame and paper, I could only fit the names for the East Japan Railways, hence the title (laughs).

- Could you tell us about the aspects you focused on the most, and any difficulties you encountered?

I experimented with the placement and number of panels on the fan to find the right balance. This time, I tried to keep the number of colors to a minimum, aiming for a simple and casual look.
I was torn between using mint green paper for the background and light green, but after consulting with my husband, I decided to go with this color, saying, "Let's take a chance!" The overlapping fan shapes in the second and third rows are surrounded by a silver border (bezel/ridge) so that their outlines are clearly visible.

- Please tell us about your future activities and goals.

While classical kana calligraphy, used for waka and haiku, is a unique and important part of Japanese culture, I would like to incorporate works from a mother's perspective and collaborations between railways and calligraphy, working on things that only I can do right now. Calligraphy is often perceived as being intimidating, but through the harmonious style (a mix of kanji and kana) that I am currently actively working on, I want to create works that anyone can read and that feel as approachable as paintings, while enjoying the process of making art.

—Please give a short message to everyone aiming to apply next year!

I'm not in a position to presume to say anything, but... I'm sure you'll be overwhelmed by the many wonderful works on display at the venue, but I hope you'll enjoy creating your work to the very end.

"profile"
Shoko Ueda
Instagram (https://www.instagram.com/shoko0621555/)

• Biography and awards, etc.
Born in 1985, from Kumamoto Prefecture, currently residing in Kanagawa Prefecture.
Graduated from Daito Bunka University in 2008, received the Itabashi Ward Cultural Encouragement Award.
Selected for the Nitten Exhibition twice
Yomiuri Calligraphy Association Executive Committee
Selected Artists for the Japan Calligraphy Exhibition
Director of the Shodo Koyokai Association
Studied under Professor Naomi Hara

Photography Division: Yuya Etori

"Mountain solo trip"

-Congratulations on winning the grand prize. Please tell us how you feel right now.

I am very pleased that our ongoing efforts have yielded results.

- What inspired you to choose the path of becoming an artist?

My motivation stemmed from a desire to confront myself through photography and to share with many people the convergence of the natural landscapes I witnessed and the landscapes within my mind, expressed through photographic works.

- What motivated you to apply this time?

I saw the judges' announcement on social media and decided to apply to see if my work would be accepted from an artistic perspective.

—Could you tell us about the concept behind your work and the thoughts you put into its creation?

The title "Solo Mountain Climbing" is not only used for this particular work, but also for a series of photographs I took and observed while mountain climbing.
Among the entries, the photograph I submitted this time vividly expresses the feelings I experience while mountain climbing.
The reason why I climb mountains, even though it's tough—carrying heavy camera equipment, forcing my legs to move when they won't, putting myself in extreme conditions of my own free will, and having to keep climbing endlessly—is simply because the scenery I see in the mountains is beautiful.
This photograph captures the convergence of such inner feelings with the scene before one's eyes, and expresses the feeling of continuing to move forward even when the future is uncertain.

- Could you tell us about the aspects you focused on the most, and any difficulties you encountered?

This photo was taken in the snow-covered mountains. Carrying my medium-format film camera and other photographic equipment to the shooting location was a major hurdle. I made numerous mountain climbing trips to the Northern Alps to train for this shoot.
Since my subjects are natural landscapes, I believe it's important to repeat the process many times and sometimes leave it to fate to get a satisfactory depiction. I would go home, develop the film, and check the results, and the fact that I continued to climb mountains without compromising for several years to arrive at this result is what I was most particular about.

- Please tell us about your future activities and goals.

I shoot year-round for multiple projects.
I would like to continue these projects, such as "Solo Mountain Climbing," which received this award, "Hokkaido," which connects the landscapes of my hometown with memories of the past, and "in the mist," which photographs ambiguous landscapes in the mist, while also finding new perspectives and continuing to photograph throughout my life.
I received awards for "Solo Mountain Climbing" and "Hokkaido," so going forward, I want to work towards achieving results with "in the mist" while continuing to pursue new perspectives indefinitely.

- Please give a short message to everyone aiming to apply next year!

Please submit your work without feeling pressured, capturing your own unique perspective.
The hardest part is consistency. Please keep going even if you don't see results. Let's work hard together.

"profile"
Yuya Etori

• Biography and awards, etc.
Biography
Born in Hokkaido in 1989.
Graduated from Otaru University of Commerce in 2011.
Awards
The 44th Funabashi City Photography Exhibition: Kazuo Kitai Award
exhibition
2021 Solo Exhibition "Friction reflection"
Solo exhibition "Hokkaido" in 2022

The Kanagawa Prefectural Hall Gallery is showcasing 312 winning and selected works chosen through a rigorous selection process.
The exhibition will be divided into two phases: Phase 1 (2D and 3D works) and Phase 2 (Crafts, Calligraphy, and Photography).

1st period exhibition (flat and 3D section) September 6th (Wednesday) - September 17th (Sunday)
Second exhibition (crafts, calligraphy, photography): September 20th (Wed) - October 1st (Sun)
Location: Kanagawa Prefectural Hall Gallery
Hours: 10:00 AM - 6:00 PM *Until 2:00 PM on the last day of each event