InterviewFeatured Artist

　
　
First of all, I would like to thank you for watching my interview and to Japan Bridge Art for giving me this opportunity. 　
　
"Picture = mirror" I think that painting is a mirror of a person. It's not so much a concept as a cycle of life, where your way of life is on the canvas and you find yourself through the canvas. Art is thought to be a biased world of sensations, but on the contrary, it is also a reality that looks at the essence of things, and in other words, it is close to philosophy (or essence) in other words. I have such an interesting and troublesome feeling. Life = picture, picture = life. 　
　
He has loved crafts and paintings since he was a child, and as an adult, he was exposed to pastel art, which revived the excitement of his childhood. After that, I wanted to start painting in earnest, so I started oil painting when I was about 26 years old, and I continue to do it today. Around 2015, when I started painting oil paintings, I had group exhibitions, but it was in 2019 that one "axis" was born. It's related to the "happy and painful things" in the second half, so I'll leave it there m(_ _)m. 　
　
Roughly speaking, in 2015, there was a group exhibition, a blank period until 2018, and after 19, I applied for my first solo exhibition and public exhibition, and was selected for the Gunyan Art Association, became an associate member, and received a job offer. This year, we have been selected for the first Japan Literature and Art Competition, won the New Era Japan-France Treasure Art Award, and received exhibition offers in Japan and overseas, including Japan Bridge Art. Born in January 1987, the school is a regular course. I think my 20s were turbulent for me. 　
　
　
　
　
　
― I think that starting as a painter is generally a slow start, but what is the motivation for that?　
　
I don't know if I can be called a painter, but I wanted to pursue (what I like) and what kind of phenomena I could get. 　
　
　
　
― What kind of thoughts do you put into your work?　
　
In a word, it's sincerity. There are various things you want to feel and cherish, what you like and what you are resistant to, but why were you attracted to it? Dig into why you were conscious. Digging is difficult, but the more you dig, the more various rough stones come out, and I think there is an essence beyond that. If you don't face it, it won't come out, and I think facing it is sincere. 　
　
　
　
― I think the colors of your work are unique to you, but are there any points you are conscious of?　
　
Maybe you're aware of it, but you're not thinking about it. I don't mix paints on the palette. Put one color at a time directly on the canvas. When I think about it, I have a fever for wisdom, so I wonder if I can get this color with my senses~ or I am moving forward while feeling it one move at a time. Ah~ But I wonder if this is something to think about. When drawing, I imagine asking the canvas, "Who are you?" If you do that, you will come back with "This is what I am." It's nice to realize that you are creating something yourself, but you have a "haha". The canvas you are creating will be a "living thing". 　
　
　
　
― Do you have any particular preferences for art materials?　
　
At last year's Gunyan exhibition, I made my own frame. Woodblock prints are interesting these days. I have a desire to create it myself, not something that has already been made. In the past, I have made tea bowls with pottery. I also want to make clothes. Currently, painting is a tool that is easy to express oneself, but if you find another area, the medium may change. There are many soft paints such as volpane. 　
　
　
　
　
　
― Are there any exhibitions or events that left an impression on you?　
　
Around 2018, I went to Junkichi Mukai's atelier at the recommendation of a friend and saw his work, and it was the moment that gave me the opportunity to sprout as an artist. This person's painting is a landscape painting, but I was impressed by the impression painting. The expression of leaving a Japan house is a "sense of mission", and when I looked at the profile, I even felt tenacity to leave Japan that should be preserved. It was the moment when I shed my skin and realized that there is a way to leave it like that, not a beautiful color and shape. Around 2019, I went to see Eiko Murata's solo exhibition, and I remember that I had a lukewarm impression. The picture looks at me. Even if you move left and right, you will keep looking at it. My benefactor at work showed it to me, and I felt bad at the time, but I was fascinated when I saw it when the flowers sprouted from the buds. 　
　
　
　
― What kind of schedule do you work on every day?　
　
Work hard at work, and when you get home, you can relax by watching videos and anime. If I have time the next day, I will soak in Japan sake and snacks at a local Japanese izakaya, and sometimes I will listen to records and enjoy hoppy. I draw on holidays (although I sometimes draw on my way home from work). I wake up around 7 a.m., open the window, feel the wind while listening to the birds singing, and feel dazed for a while. Around 8 o'clock, I put on music and stretched lightly. I go to the canvas before 10 o'clock and draw until about noon. Recently, I switched from commuting by train to commuting by bicycle, and I am now able to ride long distances. I took 2 hours and 30 minutes to go to Ginza Soei Gallery by bicycle. I also like to take a walk and find the charm hidden in the casual landscape. 　
　
　
　
― Are there any painters who have influenced you?　
　
Junkichi Mukai, Eiko Murata, Van Gogh. 　
　
　
　
― Are there any people or things that have affected you?　
　
He is a benefactor. The person at work who introduced the group of flames. If I hadn't met this person, I wouldn't be here now. How you are aware of your daily life will always have an impact. 　
　
　
　
― What was the happiest or most difficult time as a painter?　
　
There is a person who shed tears at his solo exhibition in 2019. "All of Mr. Taka's bird paintings are facing up, and the wild boar is sleeping comfortably and I am sleepy until now. I cried when I remembered many things." Unlike music, painting is a curveball. When I thought that the breaking ball had arrived, I wanted to cry. It is not words or materials. The originality of painting influenced that person. When it was difficult, I mentioned it a little in my self-introduction, but it was around 2015. It was a time when I didn't know my direction, values, and "me" like I do now. Why are you painting? After I started questioning what I "liked", my energy and interest in drawing faded. At that time, questioning the painting, which was a pillar of strength after a heartbreak, was tantamount to losing the meaning of life. At that time, I saw a work by Junkichi Mukai, and when I saw a path towards the skin, I felt like I was ascending to heaven. Continuing from the 2018 solo exhibition and public exhibition, it continues to this day. 　
　
　
　
　
　
― Do you do anything to get inspiration for drawing?　
　
Grasp the meaning and thoughts contained in one of the directions, "what exists". Take a walk and take a picture of something that attracts you from the casual scenery. Or stand on the spot and go around your sensibilities. It is important to be aware of your daily life. Materials are always around and within oneself. 　
　
　
　
― Overseas art fairs (Is it more correct to say group exhibition?) What are your expectations for overseas markets?　
　
I wonder how far my expression will expand. You don't have to focus only on the domestic market, and you will be happy if you can surprise or make people happy. "Here I am" 　
　
　
　
― How do you view art?　
　
I talked about it at the year-end party of Japan Bridge Art, but the work is a conversation. If you look at the work intently, the colors are beautiful, so you are that kind of person. As you look further, you can see through your works that the artist who created you is this kind of person. It has to be like this, it's boring and uninteresting. Art is the "essence". Therefore, it affects everything in life. 　
　
　
　
― Please tell us about the work you have worked on so far, which you think is the most "like me!" Also, please tell us why you think so.　
　
Is it the "beauty under the moon (hidden brilliance)" that you are posting? It's a flower, but I don't want it to be a flower. I have a mold, but I don't want to make a mold. When I can express a sense of "discomfort", it's really interesting and I feel like I'm unbalanced~. If you are fluffy, you can say that all the works are your own. There are various types of flower cards, flower language, abstract and figurative paintings, but if there are various aspects (good and bad), there are peaks and valleys, and the feeling of restlessness is like me. I don't want to be satisfied there.

　
　
　
　
　
　
― Finally, can you tell us your thoughts on future work?　
　
The goal as an achievement is to exhibit at the Louvre Museum. I want to have an atelier. I've just joined the Art Association, but I want to create an original community. We have also received requests to create a signboard for a Moroccan basket and a request to design a lyric card for a J-pop band. When you make a request, we will welcome you with all our hearts. For myself, it is to find the essence of expression. Also, health comes first, but even if I am hospitalized, I want to hold the brush until I am about to die and draw the curtain while holding it. 　
　
　
　
　
　

  Nakanishi Yuhito  

　
　
 
Born in 1987 Shape, sound, notation, history, and other beings that remain from person to person have "thoughts that are put into them". I want to cherish the feelings and feelings that are conveyed to people. It expresses the "feelings" that are contained while being linked to one's own way of life. ▼Career, painting career 2015 Group Exhibition (Shimokita Art Space) 2016 Design Festa Exhibited 2019 First solo exhibition (Exhibition of Hanafuda's thoughts in shape) November 2019 Gunyan Public Call for Works_Selected and Associate Member Nomination May 2020 Exhibited at Soei Gallery "Spring Selection Exhibition" and more...