Afterimage of Monochrome 「モノクロームの残像」

Op.18#   2018  53cm×45.5cm

Op.25#  2018  45.5cm×53cm

Op.35#  2019  53cm×45.5cm

Op.23  2018  33.3cm×24cm

Op.24   2018  33.3cm×24cm

Op.46#  2020  65cm×53cm

Op.16#   2018 33cm×45.5cm

Op.22 2018   32cm×41cm

Op.45#  2021   65cm×53cm

Op.27# 2018   45.5cm×33.3cm

Op.46# 2020   91cm×117cm

Op.11   2017-2018  73cm×53cm

Op.3   2016-2018  65cm×53cm

Op.13#  2018   73cm×60.6cm

Op.17# 2019-2021  45.5m×33.5cm

Op.39#  2018-2019  60.5cm×50cm

Op.44#  2020  72.5cm×50cm

Op.21  2018  162cm×130cm

Op.20   2018-2019  162cm×130cm

Op.32   2019  33.3cm×24cm

Op.5   2016  33cm×45.5cm

Production materials

Japanese paper on cotton
#Japanese paper on canvas

基底材   綿カンヴァスに和紙 アクリル下地    
#カンヴァスに和紙 アクリル下地

Original paint (made from resin, oil and beeswax),Oil, Acryl
絵の具   オリジナル絵の具(天然樹脂、油、蜜蝋)、油彩

Comments by a Painter

What exactly is it about a picture that moves us?
In our modern age, is it actually possible for a painting to touch us so deeply that it makes us shiver? Or do paintings produce no real effect?
That s how it sometimes seems to me.
Maybe it should be embarrassing to me as a painter that I try to discover something in this wordless, non-narrative art form. And yet, I cannot stop painting.

I think a painter is like an eye witness, or a kind of midwife at the birth of the work: he is there, but he is not the mother. For a long time now I ve had the feeling that I have lost subjective awareness as a man who produces something.
My pictures come about by themselves, as it were, according to certain laws. Perhaps they appear naturally. Or perhaps they do both.

My desire is to paint the completely normal, the banal. An ivy tendril with dry leaves, swaying in the wind; a tower of layered clouds, the murmur of swirling water… if something happens on the canvas the picture materialises.
But I experience this very special moment only very rarely.

The works have specific themes: calligraphic lines, the harmony of ink painting, tensegrity structures, shapes that emerge when part of a ball is extracted, turned inside out and spread out on the ground. While themes like this do actually exist, their role is merely to provide a first impulse.

When a picture has come into being how will it be seen by others? The sense of the aesthetic is highly individual. And sometimes a picture really can stimulate a particular feeling in a person s heart.

So what do paintings mean for society? When a painter creates a picture and shows it in public it enters into a relationship with society and it is through this contact with society that the picture is also given meaning. At least that s how an elderly lady in Vienna once explained it to me.

I wish to be a kind of catalyst for society in which I and the others are engaged in a process of constant and reciprocal change. At least I may be able to become such a catalyst.

Nobutaka Ueda

artmark garelie, Wien

ある画家のコメント ―― ウィーンのグループ展のためのフライヤーから