ART FAIR
Daege Art Fair 2015（大邸／韓国）
Art Expo NEW YORK 2016（ニューヨーク／アメリカ）
Deage art fair 2016（大邸／韓国）
Art Expo NEW YORK 2017（ニューヨーク／アメリカ）
Daege Art Fair 2017（大邸／韓国）
Art Expo NEW YORK 2018（ニューヨーク／アメリカ）
KIAF 2018 ART SEOUL（ソウル／韓国）
Daege Art Fair 2018（大邱／韓国）
Art Expo NEW YORK 2019（ニューヨーク／アメリカ）
ART SANDIEGO 2019（サンディエゴ／アメリカ）
●会期／2019年4月4日（木）〜7日（日）
4月4日 17:00-19:00 Trade First Preview Party
●会場／Pier 92
711 12th Ave (55th Street & the West Side Hihghway)
New York, NY 10019-5399
●Website／http://artexponewyork.com/
●会期／2018年4月19日(木)〜22日(日)
4月19日 17:00-19:00 Trade First Preview Party
●会場／Pier 94
711 12th Ave (55th Street & the West Side Hihghway)
New York, NY 10019-5399
●Website／http://artexponewyork.com/
Colliding Negative Spaces and the lnterplay of Vacuums
Onoda Minoru(Artist)
Throughout much of history, the story of painting was the story of artists’desires and endeavors to create three-dimensionality and spatial depth on a flat surface. ln recent decades，however,many have moved in the opposite direction，seeking to accentuate the flatness of the flat.
Yamamoto takes the latter approach，applying his own unique methods to the pursuit of flatness. He selects an area of the picture’s surface and affixes thick canvas of precisely the same shape over that area, drawing attention to，and enhancing the quality of the flat surface.
Then，in lucid planes of color， he portrays expansive space，and creates a world of colliding negative spaces and the interplay of vacuums.
(from a 1985 solo show at Gallery Kooma)
The World of Yamamoto Masaya’s Soul
Yanagitani lkuko(Writer)
l am a fan of Yamamoto Masaya’s.
Yamamoto appears on the surface to be modest and reticent，practically a recluse，making you wonder where the surging magma of his creative energies comes from.
However，as you watch him mix up color in a mortar and pestle and lay it down，the gleam in his eyes at that ecstatic time eloquently decimates this modest and reticent impression. He is a man driven to convey his unyielding convictions to the viewer. And
standing before these works, the viewer is brought to a dead standstill.
The melodious compositions of lucid，fertile colors，brought forth during this “ecstatic time” through his ardent devotion and extraordinary skill, draw the viewer into a tranquil，abundant realm of peace, a world of wordless depths and endless layers － like a paean to life itself, full of serenity, brimming wifh hope.
lf in fact simplicity is the answer, the key that unlocks the complexity and intricacy of this world, the world of the soul, then it is no surprise that Yamamoto, the artist and the man, long immersed in the magical work or play of unraveling this complexity, would be driven to seek another path in the art of photography，which could be called a collaboration between man and machine.
What is it that Yamamoto Masaya, the painter，has spent his life pursuing silently and unflaggingly, a gleam in his eye, a jar of paint at his elbow, or a camera in his hand? As for myself，I intend to stand transfixed before his work，and let it work its inimitable magic.
March 2014
Translated by Christopher Stephens
“How would you like to try taking photos?” My love affair with the camera began when l was drawing a plaster sculpture at the Toshiba Himeji Gallery and the photographer Sekimoto Toshio approached me with these words. Thirty-four years on，l have noted a few things about photography. Photography should not imitate painting, you should not fret about composition when taking a photo, and you should not get hung up on taking pretty pictures.
As time goes by, everything retreats into the past and becomes a record of time gone by，but the interesting thing about photography is that it captures the reality of that moment faithfully and prints it in permanent form. When using a camera to document your life, you simply snap the shutter, believing thg evidence of your senses.
When l take the camera in hand，l feel a buming passion for photography well up. lt is a world of wonder, which exquisite timing，angles, and lens work can reveal. l think my own work in the medium is rooted in Watanabe Tsutomu’s book Photography: Expression and Technique. I believe that shooting ordinary life, customs, traditions and festivals means capturing the heart of the Japanese people. Each day l hope to take a picture that zooms in on something faintly felt，gives it shape, and engraves it in the minds of viewers.
March 2014
