Today, Mirai Shinka is holding her first solo exhibition in almost a year.

We’re talking to you!

–The subtitle of this solo exhibition is Fureru Contour.

What are your thoughts here?

Originally, I have been depicting the female figure with a kind of fruitfulness and transition of life.

But since this is my solo exhibition at the Corona Disaster, I decided to use the theme of encounters and partings between people, the beginning and end of distance. I chose the theme based on the image of meeting and parting, the beginning and the end of distance.

I wanted to draw something like the wavering of contours when distance becomes distant, both physically and mentally.

I wanted to draw something like the wavering of the outline when the distance becomes distant, both physically and mentally.

 

I’m a recluse by nature, so it’s not like my own life has changed that drastically (laughs)

One of my friends from high school got married and moved away.

That’s when I started thinking about things.

I had that friend model for me before she got married.

Some of the works in this exhibition are also about her. I was thinking about the child when I drew them.

Fureru Contour” P50

“Now that it has become difficult to touch each other, the shaky outline. I want proof that I am indeed here.”

 

You said before that you had no specific model, and that you drew images based on your own image. You said that you don’t have a specific model, and that you draw images based on your own image.

Yes, we do.

I had the models pose for me, but

Since I had changed them in the picture to the shape I wanted …

Lately, “the model itself “I’ve been feeling the urge to draw the “model itself”.

 

As I had talked a little about in my previous solo exhibition, my original works started from my anxiety about my lack of function as a woman, so when I thought that I was depicting myself, I resisted “drawing beautifully”.

That’s why I dyed the limbs and face red to express the life force and strength as an individual. The red color of their arms, legs and faces expressed their vitality and strength as individuals.

I guess that’s where I’m coming from. …?

There were some parts that were technically poor to begin with. I think I may have lost some of the fuzziness and became able to distance myself from the work.

 

–Technical changes Have there been any technical changes?

For example, I used to express hair only with sumi ink, or sumi ink and a little bit of iwa-enogu (mineral pigments).

I want to charm with black! but recently I’ve been motivated to play with rock paints.

So I thought it was okay not to use the reddish tones only for the skin, and I felt that the colors were also used for the background. I think the reddish tones were used for the background as well.

Because the particles of the mineral pigments move with the water, after painting, they drip or shake the screen. I express it by dripping or shaking the screen to make it flow.

That kind of play with painting materials is interesting now!

“The Soaring Wind” P8

“Soaring winds take you to a new season.”

The title of Mr. Shinka’s work is impressive and often asked the meaning by customers. Is the image of this one decided even before it is completed?

Most of the time, it just kind of floats around after I’ve completed it.

I had this piece modeled after a friend from high school from the beginning, but sometimes I’m surprised at how it turns out when it’s finished. Sometimes I change it from there.

I hope that when you look at the work, you will feel that this is what I mean, and when you look at the title, you will see a different view.

Colors that will not return.F6

“The shimmering days before me. Embracing the colors that will never return.”

 

–This time you have some flower works too.

You’ve been painting a little bit for a while now, but is there a difference in your awareness between portraits and flowers?

I tend to think a lot about portraits, but flowers are fun to draw, as are cats.

It’s not that I don’t have any feelings for them, but I can draw them with more distance and relaxation.

It’s fun to pick them out at the flower shop or buy them and see them arranged.

“Full of color.”P8

“Filling and melting. Is there a moment of beauty?”

 

–Is there anything new you want to try in the future?

I would like to continue the feeling of playing with Japanese painting materials.

Now I just need to liberate the colors even more!

 

–Finally, please give a message to everyone who will see your exhibition.

A wavering outline now that it’s harder to touch each other.

Through the female figure, which has been depicted as a symbol of “fruitfulness” and “birth,” I depicted the theme of existence and feelings for it.

I hope you enjoy thinking about your own existence or the existence of someone close to you, or imagining the story of the work.

 

Thank you, Dr. Shinee!

The solo exhibition will be held from today, Friday, April 2 to Sunday, April 11.

Dr. Shinka will be there today and tomorrow!

Please take this opportunity to view the exhibition.

 

Click here to read the previous interview.

 

◇2016 Interview.

Interview with Mirai Shinka Writer : Gallery Seek Official Blog(livedoor.jp)

◇2019 Interview.

Shinke Mirai Interview 2019 : Gallery Seek Official Blog(livedoor.jp)

 

 

Miku NIIE Japanese Painting Exhibition -Furu Kohaku- (Touching Contour)
Friday, April 2 – Sunday, April 11
venue：Gallery Seek
exhibiting artist：Niinomi Miku
Writer’s day: April 2 (Gold) and 3 (Earth) 13:00 – 17:00 on each day

Until today, the female figure has been depicted as a symbol of fruitfulness, beauty, faith, love, truth, vanity, consumption, and so on. Mirai Shinka depicts women as a symbol of “fruitfulness and birth”. The women depicted in pale colors have a fluffy atmosphere, but at the same time, they have some core strength. The artist’s own respect and longing for women, who have been depicted as symbols in various ways, and her desire for self-projection are also included in the meaning of her work. The subtitle of this solo exhibition is “Touching Contours”. Now that it has become difficult for people to physically touch each other, what do we feel “presence” in? These works are painted in search of proof of our presence amidst the wavering contours. Please come and see more than 10 new works.