1999 Grand Prix Salon-International de Paris
2000 Invited-participation Salon de Mai
2001 Grand Prix Brisbane Australia competition
2003 Grand Prix Rome Italy competition
2012～ Art Shows and Fairs
Taegu Santa Fe Kuala Lumpur Pusan
Hong Kong Zurich Hamburg Milan
因みに＜我＞（Talk-59）の発見は「具象的非具象の洗礼」と同じ年で1971年の事だったよ。当時、高校では「倫理社会」という科目の授業があって、そこで「我思うゆえに我あり」というフレーズを学んだのだが、これは面白いと思って家に持ち帰り、検討して行く内に考えが＜我＞に至ったという訳さ。この高校生によるとこの時、神仏の存在や信仰の大切さまでもが証明された、と思ったらしいが、まあ今それはともかくとして、取り敢えずはThere is nothing that exists in this world but ＜I＞.（Talk-59）と言うことになった。もちろん当時は日本語だよ。そして認識の一瞬手前の＜今＞にあると推測されるこの本当の自分以外はみんなこの世の幻だという事になってしまった。自分で言っておきながらとても信じられなかったな。（笑）！今ふと思い出したのだが、この教科に関してはもう一つ特記すべき事があった。当時の教科書（昭和46年度愛媛県立松山東高等学校採択「倫理社会」）に「釈迦は6年間の苦行の後、菩提樹の下で悟りを開いた。」（記憶ではほぼこの通り）という一文があったのだが、ある日、黙読がここに差し掛かった時、一瞬時間が止まったような不思議な感覚に襲われた。と、ただそれだけの事なんだけどね。・・・さて、この後「倫理社会」とは全く無関係に翌年画業を志すことになったのだが、今日はそこから6年後に私が書き付けたものをご覧下さい。※↓これです。
あと私が幼い頃、母（私が松山に戻った２０１４年の７月９日に他界）から何かにつけて良く聞かさ れたおとぎ話がある。それといつだったか・・・母の母、既に亡くなっておられた私のおばあちゃん が母の夢枕に立って語ったと言う私に関する話がある。今はまだ話せないのだが、私があの世に戻る 前には全部明らかにするよ。５０年前に頂いた「郷里松山の I 師こと石崎馨・師」の予言の最後のくだ りもね。その予言の前半は『曙光‐1990年』（Talk-32）で既に明かしている。そうだ！おばあちゃん とは１９７３年に一度こっくりさんでお会いした。しかしそのとき持っていたお守りから出ていらした方にこっくりさんをしてはいけないと注意されて以来怖くてやっていない。話題に取り上げるのもはばかられる。素人が面白半分にチャネリング等に関わってはならない！絶対に！！！この方だと思う よ、１９８４年にH氏を通してお会いした守護霊の恭任様は。「１３才から守るなり」とおっしゃった方だ よ。この話はもう既に英文でTalk-54にもっと分かり易く紹介しているよ。
絵の話に戻ろう。「霊的曙光の奇跡」で私たちの霊性が転換されると美術芸術の分野ではここに＜ Tableau＞と言う表現形式が装いを新たに芸術として復活します。１９９０年に東京で開いた「個展 DESSINER考」のパンフレットに “Tableau is now coming back to life again with our miracle of Aurore－spirituelle” と書きました。（Talk-30,31,32）これが「霊的曙光の奇跡に基づく絵画表現の芸術的蘇生」の英語バージョンです。
1■I’m afraid to say that I’m not talking only to art-related acquaintances here in Matsuyama, but also to all the people from all the fields of the whole world. I am not an unblushing big mouth but I dare say that, just because I truly think I should. I have held this faith since I was enlightened with the idea of “Tableau Resurrection based on the miracle of Aurore-Spirituelle 霊的曙光の奇跡に基づく絵画表現の芸術的蘇生” in 1978. I see what you think. But just listen to me for now, please. I’m not that silly nor arrogant pretending to be a prophet. So, “Aurore-Spirituelle”…仏の語…Its original name was “霊的曙光” in Japanese, meaning the spiritual dawn. You know dawn, the one you can see in the east every day. Then I imagined the “Dawn” (Aurore-Spirituelle, 霊的曙光, spiritual dawn) in my vision, which I assumed would come around every two and a half thousand years or so from the “FAR EAST” (later). 即ち同心円、位相を変えつつ無限に広がるメルカトル。 And It was imminent to come as of 1978. Then I thought people would have been reborn in spirituality through the “Dawn”. And I thought the culture at large would have changed in consequence. Art also would have changed accordingly, in which “Tableau” would have been resurrected. And all of this miracle would happen here in Japan first. No, not really in Japan. I’d better say 日の本aloud…. To be honest, I’m not that sure, I really don’t know, but it just sounds right to me…Yes! That’s【hi-no-mo-to】after all, the “FAR EAST”. And the effects of this miracle would spread all over the world in the end. How exciting it would be to see the last moment! Once it started spreading, better to say shining across the world, it would be fast. Light speed, you know. What a spectacle it would be… Well, this is quite a rough description of what I have conceived and developed deep in my soul since 1978. Don’t say it’s only a delusion. You might as well see Talk-30 and the section 6-8 of Talk-45 for a little more logical explanation. “Tableau Resurrection based on the miracle of Aurore-Spirituelle” is often paraphrased into the “Prophecy of DESSINER考” or just simply, the “Treasure” sometimes…. It’s been my dream, my life since 1978.
※ Tableau：art works such as framed oil-paintings shown in traditional art museums.
※ FAR EAST：【hi-no-mo-to】, section11 of Talk-59
※ メルカトル：Mercator, Talk-68
Jasmine-petal Nov.2019 93×86×3㎝ oil on panel
2■“Aurore-Spirituelle” commenced on November 3, in 1985…on Japanese Culture Day when I made Kurote….Just listen, please. Kurote is the nickname of this oil-painting as the original title is a bit long. Not the one above. Please check Talk-45…the first photo. Right! That one. I think the goddess depicted here is Mary and me myself, and even my wife. You think how ridiculous I am to bluff about such nonsense but they are all true. Mary predicted herself that she would appear in my painting, saying “あなたの絵の中に私があらわれます” in the oracle which was given in 1983, two years before Kurote-event… Yes! It was when I was in the depths of hell, and this deity came down and left encouraging words for me and… No, not now. Back to Kurote. A while after I started painting, a swirl of sacred atmosphere was formed in and around the panel, then I noticed a figure vaguely ooze out in my painting. At first it was moving a little, changing its posture, then I fixed it in the best position with the best pose by scratching, drawing and touch-wiping…Touch-wiping? Talking about the techniques of my specialty may make a good topic for Talks. Maybe next time… Anyway, the figure must have been Mary according to the oracle, and her right hand is exactly my right hand. No doubt, I drew it watching my right hand… ? Sorry, my left hand! I was looking at my posing left hand in a mirror. I’m right-handed. Then I sketched my wife’s sole for the goddess’ sole. Now, did I make all my points clear? And here is another prediction, which was given by Gien in 1984, a year before Kurote-event. He said, “かがみより他にわが身を写すなる宝はあらず道に目醒めて”（You will find what you seek for in yourself looking in a mirror…Is my translation okay?) Then, I looked at myself in a mirror to confirm the shape of the figure and her facial expressions, and “my posing left hand” as well. Gien is one of my previous lives according to Psychic H. There are some other thigs that I heard about from him in addition to Gien that day. Nigihayahi-no-Mikoto (guardian god), Kyonin-sama (ancestral guardian spirit), and even evil spirits that had cursed Sakamotos for generations… Back again to Kurote anyway. But you don’t believe my stories, do you? That’s fine, but never misunderstand. I’m just talking about what I saw, heard and thought through my art work. That’s it. They are all true. Look! Here actually existing is my art work, Kurote. The incarnation of my one-day action on panel with oil colors. This is 真誠の画術, 芸術< Geijyutsu> , not really and never <アート>, which Fenollosa-菩薩dreamt to find in the FAR EAST. And this deity entrusted me to create Kurote, while Kuse-Quannon (Shotoku-Taishi: Japanese historical icon) descended on me before the Kurote-event, in order to help me create this miraculous art work. (section 10, Talk-45) There’s no doubt. I even looked like Shotoku Taishi in those days. My wife said that, my uncle said that, people said that. You will never know but I know they are all true! Well…, you must be frustrated by my one-sided speech. But very honestly, sincerely, I say that I knew what happened in the FAR EAST that day… Believe me, “Aurore-Spirituelle” commenced on November 3, in 1985…on Japanese Culture Day when I made Kurote.
Gien : Later I learned that Gien (?-728) was adopted after his birth by Tenji-Emperor. Then he was raised in Okamoto-palace, and became an influential 僧正- priest of Buddhism in the end. He liked pictures and collected 絵馬【e-ma】( pictures to be dedicated to shrines).
3■Aurore-Spirituelle closed having taken 30 years(1985-2015). Just listen, please. I didn’t say 30 years exactly but said, it would take one generation, meaning about 30 years or so, in『龍法聖画論』(Memos-1977,78 : This booklet is written in awful Japanese with terrible hand writing and a lot of mistakes. I wouldn’t reveal everything of this shameful booklet while I’m still alive. Only one copy out of 100 copies in total is left at my hand. Talk-4) Anyway, Aurore-Spirituelle has already closed. And now that we have been reborn in spirituality, we understand what we couldn’t understand 40 years ago. We have come to know “There is nothing that exists in this world but < I > ” (「天上天下唯我独尊」「世間虚仮唯仏是真」) irrespective of how we think, which is for all of us including all the skeptics and all the believers of all religions in the world, and you of course. This is what Aurore-Spirituelle actually caused on the Earth <地球生命>. Thus, we have readied ourselves for accepting “Tableau Resurrection”.
※ < I >：Talk-59
※ the Earth<地球生命>：Talk-45
Mukuge-petal spread Dec.2019 115×75×3cm oil on panel
4■I tried to give a prediction myself in the 8th section of Talk-59, but it fizzled out on the way. It turned out to be a joke. Allow me now, to pretend to be a prophet again, in order to conclude this Talk-75 in bright harmony alongside my spoken context. Even if it is a fixed ending, I will be happier than ever before with the dream that will once come true. I proceed with telling the “joke”…. After Talk-59, the world would have gotten brighter and brighter every time I completed a new piece of art work, and the Mission would complete in 5 or 10 years… That’s funny after all. To tell the truth, I wrote “in 3 or 5 years” at first but I thought it would be sad if I died that young, so I intentionally prolonged the rest of my life time to 5 or 10 years. Well, it could have been 20 years or even more. But I didn’t want to prolong the Completion that long… Anyway, I just meant that I have come to the last stage “where I can create many more works in a stable style”. Talk-61,62,64,65,66, 68 and the most recent works presented here in Talk-75 prove that. They were all produced within a year and are still in my studio house (except for the one in Talk-68) Please check Talk-1 again in comparison of now and then. The time has come. Spread Gallery Talk around the world and take all my works out from my studio house to spread them all over the world. I don’t wanna get stuck with the Treasure in my studio house. The Treasure is for people. Now I need to step out of this esoteric secrecy in order to express myself in this real world on the international stage with my art work, Here I cite from Talk-1, “That is because I believe what I have created through a forty-year consecration should be proven in this real world and dedicated to people.”
Actually I have given up writing Gallery Talk all in English. Native ways of speech, vocabulary, …you know. It’s impossible for me. However, somehow, I wrote up what I’ve wanted to cry out for 40 years in English with Talk-75 after 30 years of studying. It is not as good or as natural as Japanese of course but I am content with it. By the way, what kind of story do you imagine when you see these three photos? Will your imagined story ever surpass my reality？Study Japanese for thirty years and you will be amazed reading Talk-69 as well as Talk-45, 59 and 68.
前作2点（Talk66,Talk64）に引き続き、山茶花をテーマに制作を始めました。（4Mar.2019～oil on panel B1）。しかしこの度は、描いては潰し潰してはまた描く、の繰り返しで一向に展開の糸口が見つかりません。思いつくだけのあらゆる方法を試みましたが、取り組んで2ヶ月も過ぎようかという頃ついには手詰まりとなって、最後にシルバーホワイトで潰した後は、作品を壁に掛けたまま途方に暮れるばかりとなりました。このパネルもここまで良く持ちこたえてくれた。しかしこれだけ傷んで画肌が荒れて来ると、この先いくら補修して下地を整えたとしても、無垢の白地から描き起こすあの新鮮な透明感はもはや望むべくもない。これ以上はもう無理だ、残念だがこの絵は処分するしかない。こうして最後にはとうとうこの「山茶花」を諦めてしまったのです。が、そんなある日のこと、ふと手持ちの木枠を誘われるがままに、何気なくこの白い残骸に被せてみたところ、図らずも作品はたいへん心地よく引き締まり、一挙に制作の展望が開けて来たかに思われました（※写真）。思わず身を乗り出して覗き込んでしまった。そういえば遠い昔の学生時代、似たような事をやってたな。描き上げた“名作”をお気に入りの額に入れては納得し、壁に掛けては見入っていたもんだ。実に＜油絵芸術＞と云ふものはそう言うものだったんだ。それにしても今ここで何が起こったというのだろう？ ・・・今更、語りつくされた＜現代美術＞の芸術論やら絵画論、はたまた額縁是非論等々を蒸し返すつもりなど毛頭ないのですが、突然現れた不思議な光景を目の当たりにして、様々な思いが次から次と交錯して参ります。
Matsuyama, my hometown where I came back alone after retirement leaving my family in Tokyo in April 2014, (which was not my will though…) is a mecca of haiku (5-7-5 syllable poem). I am never a haiku-person but once it happened to me to join a nearby haiku circle in April 2017. And this is the very first piece I have ever composed in my life…「ボケ老人俳句歌いつ徘徊す」… “No joke!”, only to get scolded. I know this cannot be a haiku, being out of traditional authenticity. I just made fun of myself pretending to be a man of senility, punning in sarcasm. Silly though, I really needed such jokes back then…sorry.
“Find me. Find yourself in me. Here is the path.” …Sorry again. The second “haiku” was spoken in English. No way in English, but this is not a joke. I don’t know what to say. This “haiku” is what I heard from a weed…Mary, I think. I really don’t care if you believe this personification of deity or not, but just listen to my story, please. I was taking a walk someday in May 2017, being worried about my miserable situation here in Matsuyama, when something diverted me to take an unusual course. There was no other trodden way. I waded through the bush into the woods. After a while, suddenly I came in to a spot. It felt somewhat brighter there in total serenity. Then I heard a voice calling me. I turned around towards the voice. Nobody was there but I found an unknown tiny weed standing stark alone. And it spoke to me! …“Find me. Find yourself in me. Here is the path.” … I took it, hurried back to my studio and completed the work by putting it in the aureole. Then I titled this work－Path.
At a nearby café bar restaurant
In my studio house
I step up to my studio looking at Path as Ryu-jinjya watches me, then Stray is to chase after me.
技法材料抽象構成 Mukuge-petal Jul.2018 91×78×3cm
“Up And Coming展Ⅰ” Miura Art Museum, 11Nov.2018―27Jan.2019
Up And Coming展ギャラリートークテキストTalk-59 A4 16p
Three artists from Ehime were introduced in “Up And Coming Ⅰ” at Miura Art Museum, 11Nov.2018―27Jan.2019. And this is the pamphlet that I presented for my part of the exhibition together with 15 pieces of art work. Talk-59 was featured in the booklet with the references of Talk-3 and -54. Then I added the preface, the post script and the photos of recent works .
「Talk-59」は私が自分のサイトで綴っている『Gallery Talk』の59番目にある＜我＞という記事です。今回はこれに関連する作品写真や他のTalk記事を加えて「Up And Coming展ギャラリートークテキストTalk-59」としてみました。以下にこの小冊子を作ることになった経緯を記します。
2014年に東京から戻り、松山郊外にアトリエを構えることとなりました。41年離れていた愛媛・松山で活動を再開するにあたり、翌2015年には地元にご挨拶がてらリブ・アートで個展を開きましたが、その時に来て見て頂いた愛媛県在野美術界の重鎮、松田一さんから非常に高い評価と期待を頂いたのです。激賞でした。そして今年3月には、三浦美術館が企画するUp And Coming展の作家選抜に、松田さんが代表を代行しておられた子規堂前画廊から推薦されることになりました。この時、それでは参考までにと氏にお届けしたのが「Talk-59」のラフスケッチと関連する作品写真や他のTalk記事だったのです。
氏が活動拠点としていた子規堂前画廊もまた今年に入って閉じることになってしまった。「明日、三浦美術館に行ってあんたを推薦してくるから・・・」と最後に電話で聞いた氏の言葉が、あたかも私への遺言であったかの如くに響いて参ります。来るUp And Coming展に松田一さんの魂を巻き込んだ強い因縁を感じざるを得ません。氏とのお付き合いはわずか2年と半年に過ぎません。また、新旧相容れぬ違いもありました。しかし油絵芸術に向かう松田さんの一途な姿勢には深い共感を覚えたものです・・・。いつぞやは私に一冊の詩集を差し出し、坂村真民が良いのだと呟いておられた。氏はこの詩人の如く道を純粋に求められた方です。愛媛の絵描きなら知らぬ者はいない。誠を求め在野で逞しく道を貫いた郷土の画人、松田一。この度その篤き一念が三浦美術館の一室、サロンに花開きます。テーマは「Talk-59」。このパンフレットは故・松田一画伯の御霊に捧げるものであります。
I owe everything to deceased Matsuda-san for this promotion.
誰しも日常生活の中でごく普通に経験していることを語っています（Talk-59の6）。早い話が、今日もまた私は新たな一日を生きている・・・この当たり前が不思議でならない。確かにあったあの昨日はどこに行った？去年は？10年前は？ そしてもう早、今あったはずの世界が自分自身を含めて過去の幻影となっている。これは奇跡だ、奇跡に違いないといつも独りで騒いでいるのです。サイキックやチャネリングの不思議を待つまでもない。日常がすでに時の奇跡。そして今、この奇跡は位相を変えながら同心円状の異次元に広がって行きます（Talk-59の14）。“つい今しがたの40年前”、迫りくる人類史の終焉に際し私が油絵に殉死を覚悟した現代美術の行に身を投じた時のこと（Talk-59の8）、絶望の闇夜の中で私は一人、それでも必ずや夜は明けるのだと信じて疑わなかった。描くことが再び芸術として蘇るはずだと、いやそうあらねばならないと…中略…そしたらどうだ、本当に再び夜明けを迎えたではないか、神仏が道を指し示して来られたではないかと“半時経った４０年後の今”、こうして一人で興奮しながら“たった今の昨年に”、Gallery Talkを綴り始めたのです。これ即ちDESSINER考―霊的曙光の奇跡に基づく絵画表現の芸術的蘇生！！！・・・覚えています。40年前、私の全身全霊に鳴り響いたものは＜今＞のこの絶叫でした。 “In exact reality, I say, the truth is that I was enlightened with the idea of DESSINER考 in 1978, and Mary approved it saying 「・・・あなたはかつても求めてきた より高く実現してくださいよ・・・」 in the oracle in 1983 .”(Talk-3) これを“預言”と呼び、“ご神託”と申し上げたのです。
I haven’t told you how I was given Mary’s oracle, in English yet. “Y”, who was a friend of mine from Tama Art College and was a spiritual person, came to see me in late August, 1983. And it came down on us when we were talking…talking about my successive ordeals, in which I finally got involved in a severe car accident. The motor nerve for the left side of my body and my eyesight were severely damaged. I couldn’t walk straight, couldn’t see correctly, terrible dizziness and frustration…very hard to do things, no way to work on art any more. I thought I finally fell into the bottom of hell. But, this ordeal might have even been given by God. Or could I possibly say ＜I＞ (Talk-59) willingly wanted it to occur…? I’m talking more about this “Genuin Truth” (Talk3) on another occasion. That is amazing… Anyway, when we were talking, he abruptly interrupted our conversation saying, “Sakamoto-san, now Mary is here and this deity is talking to you”. And he dictated it to me. The oracle was written on seven sheets of paper in Japanese. (Talk-4)
This work is the trophy of a two-month long battle in my studio. Ryu-jinjya bestowed on me the honor of victory in the end. My wish was fulfilled and it was on the full moon night again. My diary is terrible to read but is the best proof of this miracle. If only you could read Japanese….
Actually, the incarnation of Ryu-jinjya had occurred with this work first.
I took up a failed piece from the corner and tried to see the effect of glazing. I did it for a change while I had been struggling with the main work of Ryu-jinjya. This trial of glazing itself went unexpectedly well. Very well, I thought. Then, I sensed something unusual occurred in my studio. It felt kind of sacred…. Well, I thought so, but I didn’t take it seriously at that time. The piece itself was nothing but only a glazing-practice with no meaning. And it was done on a failed one. So, I got back to the main work as soon as I came to my senses. However, once I knew that the main work had been incarnated with Ryu-jinjya on December 4th as my diary proves, I’ve come to be aware that the same miracle had occurred previously on this glazing-practice. Then I found the hidden meanings behind this practice-piece. It’s so serious and real to me. The leaf placed at the bottom was me myself. I wrote as follows….
There is a shrine called Ryu-jinjya in the middle of my walking course. Not far from the site where I heard “the voice calling me” (Talk-67). Small and shabby though, I often drop in there to breathe the calm air of its sacred grounds. But at night, I just hurry to my house without looking at it. There must be a bunch of evil spirits dwelling within, and they become active in the dark. Just scary at night. However, I am still attached to this shrine nonetheless for its evil. I speculate that the sacredness might have both good and evil. Doesn’t my work prove that? It is dark and bright, bright and dark at the same time. That is because of the effect of glazing. Remember, The glazing-trial “went unexpectedly well. Very well, I thought” Then, incarnated in my painting was Ryu-jinjya. It must have been the sacred atmosphere of the shrine, which I breathed in my studio at that time. And this was the event, I remember, which happened on November 4th, …on the first full moon night of a two-month long battle with Ryu-jinjya.
I’d much rather be talking casually. So, don’t take things such as oracles, prophecies, and others too seriously. They are nothing more than usual stories that we all have. You also might have paid 30 bucks at a fortune teller’s as I paid 300 at a psychic’s for those stuff in 1984. This is it. Or you also might have played Ouija board with your friends and successfully conversed with spirits as I succeeded in Kokkuri-san (Japanese counterpart). Sorry, I started but I can’t talk about this anymore. I’m scared. I was warned not to play Kokkuri-san by the spirit which I conversed with on the self‐made paper chart that night. It was in my room of the dormitory of Tama Art College in 1973. I will be telling the details of this amazing story some day when I get well prepared for it. Anyway, I should drop talking on this subject now, and you never play at channeling lightheartedly. It’s dangerous. I’m not a man who is particularly interested in these kinds of things, but so long as I keep on writing Gallery Talk, I can’t help referring to them, as they are deeply related with my art work, life and・・・the future of human kind, I believe.
I am preparing Talk-4 as a glossary for special terms, names, events, which I may repeatedly mention in Talks. Please consult Talk-4 when you get lost, as I won’t make notice every time.
They say, I’m quite a poor talker, ignorant and naive, clumsy and reticent, I know. But in art, the eloquence of Genuine Truth is mine with the help of holy spirits’ oracles. Kyonin-sama told me,
「夢はるか神と仏が共に居て描き清める画法を遂げなん」in 1984. “You create the technique in your art work, which pardons the world.” And Mary told me,「絵で実現しなさい」 in 1983. “Realize it in your art work.” ・・・“It” means the idea that I was tightly holding in my soul then, which would be later titled DESSINER考, that is Tableau Resurrection Theory based on the miracle of Aurora-spirituelle・・・namely Prophecy (Talk-3).
誰しも日常生活の中でごく普通に経験していることを語っています（Talk-59の6）。早い話が、今日もまた私は新たな一日を生きている・・・この当たり前が不思議でならない。確かにあったあの昨日はどこに行った？去年は？10年前は？ そしてもう早、今あったはずの世界が自分自身を含めて過去の幻影となっている。これは奇跡だ、奇跡に違いないといつも独りで騒いでいるのです。サイキックやチャネリングの不思議を待つまでもない。日常がすでに時の奇跡。そして今、この奇跡は位相を変えながら同心円状の異次元に広がって行きます（Talk-59の14）。“つい今しがたの40年前”、迫りくる人類史の終焉に際し私が油絵に殉死を覚悟した現代美術の行に身を投じた時のこと（Talk-59の8）、絶望の闇夜の中で私は一人、それでも必ずや夜は明けるのだと信じて疑わなかった。描くことが再び芸術として蘇るはずだと、いやそうあらねばならないと…中略…そしたらどうだ、本当に再び夜明けを迎えたではないか、神仏が道を指し示して来られたではないかと“半時経った４０年後の今”、こうして一人で興奮しながら“たった今の昨年に”、Gallery Talkを綴り始めたのです。これ即ちDESSINER考—霊的曙光の奇跡に基づく絵画表現の芸術的蘇生！！！・・・覚えています。40年前、私の全身全霊に鳴り響いたものは＜今＞のこの絶叫でした。 “In exact reality, I say, the truth is that I was enlightened with the idea of DESSINER考 in 1978, and Mary approved it saying 「・・・あなたはかつても求めてきた より高く実現してくださいよ・・・」 in the oracle in 1983 .”(Talk-3) これを“預言”と呼び、“ご神託”と申し上げたのです。
14■There is not so much work after“曙光-1990”. The assignment given by God was to study English hard. This lasted ten years. It was not until I came here to Wakoku when I started practicing painting again.
Kami-kiri 2001 52×73㎝ oil on panel Personal collection, Matsuyama
Actually, the photo above is of a C-print. The sole edition sized 20×31cm. The original oil-painting had been missing for a long time, until that day…
It’s not simply an image of four insects arranged on the four corners of the panel. I was not trying to make a picture of such. I was just practicing coloring, brushing…wiping, scraping and scratching without knowing what I should paint. Such a trial without any purpose usually ends only with despair. Yes, it really does. I know that very well. That’s been my life…So many agonizing trials with little reward as was usual. But at that time, things went unexpectedly right in the end. Kami-kiri was finally imparted on me. Have a close look on it. Kami-kiri itself proves that it was really a bestowal. I’d rather say I didn’t paint Kami-kiri but just helped Kami-Kiri to appear in my painting. You remember the Kurote story (Talk-75). Anyway, I was happy with Kami-kiri, but I didn’t have enough time to enjoy watching it in my studio (then in Tokyo). I had to send this “masterpiece” almost immediately to a group show which would be held by a gallery in Kagawa. It was at the show when I saw Kami-kiri next. My work gained a pretty good reputation among the viewers. And after Kagawa, the next event was coming soon, which was a competition organized by another gallery in Tokyo. My entry was with this “Kami-kiri” and that “Sayori” (Halfbeak-Advent, Talk-8 Fish) another “masterpiece”, you know. So, there seemed to be no worry of losing in this kind of small competition. And I won as everybody expected. I was awarded my own personal exhibition at the gallery for free. After the show, the gallery in Kagawa offered to buy “Kami-kiri” for their collections. The other work “Sayori” also sold to a private collection on another occasion. I was so lucky and happy in those days. But some years later I overheard that the gallery in Kagawa had closed down. All the property including Kami-kiri, which the gallery owned at that time must have been sold at the cheapest price and spread all through Japan. And I lost touch with both the gallery and Kami-kiri. Since then, every time I remembered this painting, I prayed that someone was taking good care of it somewhere in Japan, and so did I pray that morning too, on Wednesday Oct. 26 in 2016.
Local■After the prayer, I felt a slight dull pain in my back. At first, I didn’t care at all and started my daily work. But it grew severe, so severe that I couldn’t bear the pain by noon. I made an emergency call to Minami-Matsuyama Hospital where I usually go first, but unfortunately it was not open. They close on Wednesdays and Thursdays. Right, I remembered. I called Seikyo-Hospital next. But it was on its lunch break and closed until 3 pm. No way, I couldn’t stand waiting any more. It was killing me. The apologetic woman suggested that I should call Nisseki-Hospital which was on duty for emergency that day. The next moment, I was rushing to Nisseki-hospital by bike with no reservation. But strange to say, when I reached the hospital, the terrible pain had almost gone. The doctor must have been baffled and upset hearing this rushed-in patient’s unclear excuse. But I was released peacefully in the end, after being diagnosed as a “possible” kidney stones.
It came to me when I was on my way home. I was so relieved and relaxed that I took a detour for a change. I was pedaling at a slow pace looking around the way. And when I passed a cute hair salon…it was just minutes after I left Nisseki-Hospital towards Himegin-Hall and Dogo, I noticed a painting hung on the wall in the salon, which looked yellow-colored and was somewhat familiar to me. “What ?” I turned back and saw it through the window again. And what I confirmed there was…I still don’t know how to express my astonishment at that sight. It was my painting that I had long wanted to see again. “Kami-kiri” was being treasured here in Matsuyama, at this hair salon.
If you ever visit Matsuyama, and pass by this cute hair salon, don’t forget to confirm that Kami-kiri is hung on the wall inside. It’s Hair make Corto lungo, 3-1, Dogo-Ichiman, Matsuyama. You are allowed to look at Kami-kiri through the window.
ローカル■そういうわけでKami-Kiriは松山にありました。是非一度ご覧になってください。 Hair make Corto lungo（松山市道後一万3-1サンインテグラル道後１F）は、ひめぎんホールの通りで、道後からの電車が勝山方面に曲がる手前にあるオシャレで可愛いヘアーサロン。ここで大切に飾って頂いておりました。外から覗かせていただけますよ。『作品集‐2015年』には「たまむし」とありますが、「Kami-Kiri」の間違いです。サロンのマスターに「これはカミキリ(髪切り)です。」とユーモア交じりに指摘されるまでずっと玉虫かと思っていました。ここに訂正いたします。
I am not telling a happy-coincidence story, as I believe there is no “coincidence” with “Genuine Truth”. Every event has a reason, from the clash of an electron that’s just happened in my phone to the Big Bang. This Kami-kiri story is just the introduction for Talk-15, the talk about Mentor I, a religious psychic. You might think Kami-Kiri story doesn’t have anything to do with kidney stones or Mentor I at all. But I don’t necessarily think so. “The deceased Kaoru ISHIZAKI alias Mentor I” had been working at this Nisseki-hospital. I wonder if every coincidence which happened to me that day might possibly have been caused by spiritual power that relates to ISHIZAKI-san…. To be continued in Talk-15.
■Memos 1977-1978 (龍法聖画論) B5 96p 100copies Handwriting-printing The hunch of the miracle of Arore-spirituelle The basic idea of DESSINER考 Made public at the first exhibition in 1979, Ehime Art Museum
■Arore（曙光） B5 30p 300copies Written in 1984-1990 The oracles and DESSINER考,
the miracle of Arore-spirituelle released at the second exhibition in 1990, Galerie Simon, Tokyo
■Prophesy-2015（SAKAMOTO坂本龍彦作品集⁻2015 または 作品集⁻2015） A4 33p 300copies Written in 2014 DESSINER考and related writings
together with art works from 1978-2015 Released at the exhibition in 2015, Gallery Live-Art, Matsuyama
■The oracle of Mary Given in August 1983 A friend of mine “Y” dictated the oracle to me
Written in Japanese from top to bottom, right to left by pencil on seven binsen-papers
■Nigihayahi-no-Mikoto Said to be the god of sensitivity
Said to be the guardian spirit
Said to be myself from a previous life
■Sakusashi（幸子さんたち） Sakusashi(part) 24×22cm 1984
Evil spirits that I have contracted with since 1984 (not very sure but I believe in)
It’s all about my writings. And here’s one that I released in 2015.
■ SAKAMOTO坂本龍彦作品集‐2015 A4 33p
I introduced DESSINER考 (or Tableau Resurrection Theory if I could say so) through related writings along with my art works. This compilation is also “the essence of my forty years” as well as “a series of my recent works” and was done “in the most splendid way possible” as the latest part of “a forty-year consecration”. Quotation: from Talk-1
Now, I’d like to talk a little more about DESSINER考 ( Tableau Resurrection Theory ). Actually, I had already reached the basic idea of it in 1978. I was so excited that I held the very first exhibition as early as the next year at Ehime Art Museum to release it, but in vain. It was too early and the idea was not yet matured enough.
I held the second exhibition at GALERIE SIMON in October 1990. It was for the first time in Tokyo and was a long-awaited exhibition for me, with a lot more experience and much better works after the first exhibition. And there, having taken eleven years for preparation, what I finally declared in a grave tone with absolute confidence was DESSINER考, saying “Dessiner【desine】仏の語、（線で）描く、デッサン（スケッチ）する・・・西の文化がこの描画行為に負わせてきた再現的観念性の原罪も原罪即仏果と見つけたればその神業が絵画表現の芸術的蘇生を極東より閻浮提に問い返す” and
“Tableau is now coming back to life again with our miracle of aurore-spirituelle”. ・・・Quite obscure and doubtful in many ways though,
it spiritually sounded so true and right to me that even now it well echoes in my mind. “This is me, myself”.
DESSINER考 resists any translation. I don’t want to have its original tone changed even a bit. It is not so much alive in the meaning as in the tone, and the meaning itself alone actually doesn’t mean anything but nonsense. I’m now thinking of “Genuine Truth” (if I could say so) which is not really “truth” but spiritually undeniable, deeply hidden behind reality, and seemingly doesn’t make sense at all. It is meaningful nonsense as I have written so much in the booklet. And DESSINER考 is the one. ・・・Anyway, there is no other way for me than talking and writing in English by myself all over again.
First of all. I’d like to reword “DESSINER考 or Tableau Resurrection Theory”. I’d rather say Prophecy in one word, straight in English. I am afraid I might be overstating but please allow me to say Prophecy for now. I have something to confess.
It was in May 1991, not long after the declaration of Prophecy when I started to study English. Thus the “holy apprenticeship” proceeded, also being led by God, Mary and other spirits even by myself from a previous life. ・・・I wouldn’t care at all what other skeptics might criticize. I just want to say what I saw, heard, and thought along with my art works. That’ it. So, I’m not overstating my case after all. There’s nothing to be afraid of.
In exact reality, I say, the truth is that I was enlightened with the idea of DESSINER考 in 1978, and Mary approved it saying 「・・・あなたはかつても求めてきた より高く実現してくださいよ・・・」 in the oracle in 1983 ( Mary knew everything and encouraged me to go on this way). Then Nigihayahi-no-Mikoto (said to be the god of sensitivity) together with Kyonin-sama(the guardian spirit) and Gien(myself from a previous life) left me words in 1984. And then I made the gravest-ever declaration of DESSINER考 in 1990, which even now well echoes
in my mind with such nonsense as Genuine Truth of the confession! ・・・This is none other than Prophecy.
A quarter century has passed since I started to study English. At the beginning of the course, I couldn’t believe that I started dedicating myself not to practicing painting, but to something else－English. I wrote “this lasted ten years.” It was really the ten-year hardship of an identity crisis. But now I know this was “the assignment given by God” as also written in there, in the booklet. Though the compilation was done by writing in Japanese, there was a small part written in English, which might have implied what I would have been doing next. And now I am writing Gallery Talk in English in order to present Prophecy to the world and to make what I have created in my inner world “proven in this real world and dedicated to people.”
Quotation: from Talk-1 and the writings of the booklet
Talk-1self-promotion for Art Shows and Fairs, titled Self-portraits【】
I am thrilled to participate in Art Shows and Fairs. The offer I was given was only a month ago, but that was of perfect timing as if it had been destined beforehand. I was just looking for chances to exhibit my works professionally. And here I go.
I have been an artist for more than forty years, starting under the influence of classical oil paintings such as Dutch paintings of the17th century.
thatched hut 1975 10p
My style has changed dramatically since then. I have constantly made and disposed of works again and again, seeking for my own style. But I have not been able to find a fixed place where I can create many more works in a stable style. There are only a few works left, each in a different style, from my 40-year career and most of them are still in my studio. This has kept me from going professional. I have been an amateur for this reason. But please do not look down on me for having been such an “amateur”. Or would you ever do it to this artist who made those paintings above in his young days? The past period has been an inevitably important, holy apprenticeship of a forty-year inner activity. But I sense that the situations around me have changed recently and I am facing a new phase of my career. I notice a series of my recent works shows a more fixed and stable impression than ever before. I think I don’t need to be such an “amateur” anymore. And now I solemnly declare what had to be done has been done in the most splendid way possible. I have already been shifting myself towards a more professional way as my resume shows. That is because I believe what I have created through a forty-year consecration should be proven in this real world and dedicated to people.
Now please have a close look on a series of my recent works.
Petal 2016 42×81cm
Petal 2016 70×91cm
Plant notation 2015 25×50cm
Petal 2016 45×41.5 cm
Petal 2016 24×53cm
Petal あじさいの記憶2016 50.5×36.5cm
Please enjoy the essence of my forty years.
This is me, myself, my real self-portraits.