GALLERY NARUYAMA

“幽霊の出現の原動力が怒りを伴っているところに共感している”松井冬子は狂気に近い状態でありながら正気を保っている状態、ヒステリック、を古典的な雅びさを踏まえ、絹の上に表しています。
鎌倉時代の絵巻「九相詩絵巻」は不浄相とされていますが、この絵巻から霊感を受け描かれた「浄相の持続」を松井はあくまで“けがれない死体”という気持ちで描いており、また、浄相が持続するという事が痛覚の神経線維に触れるような痛々しい姿であるように感じています。

我が国日本では昔、幽霊画や無惨絵は厄払いや縁起物として扱われた事があります。
“魔をもって魔を制す”という考えから、床の間に幽霊画を飾ったり、通人の間では羽織裏に恐ろしい絵、無惨絵を描かせたりしていました。
幽霊程驚愕があり、日本的な感情、美意識また優美さを感じさせる正体不明なものは無いと考えています。
成山画廊のそれらの思いが纏まった、私共らしい展示となる事かと存じます。

FUYUKO MATSUI
When the cherry blossoms start to bloom in Kudan, we at Gallery Naruyama would like to introduce frightening, yet beautiful Japanese paintings by a beautiful Japanese painter.
“The motive for a ghost to appear into our world is anger”
Relating to this mentality, Matsui, on the verge of insanity, intertwines hysteric emotions into classic Japanese elegance..
Although the “Kusou-shi”, a picture scroll from the Kamakura Period (1185?1333) is said to be ‘impure’, an inspired Matsui finished “Keeping Up the Pureness”, where a ‘purified’ corpse is depicted. As ‘purified’ may sound quite pleasant, she feels that ‘keeping it up’ is rather a painful experience.

In ancient Japan, paintings of ghosts and painful motives were believed to drive away the evil, or even bring the luck home. The idea of ‘driving away the evil with evil’ had people decorating their homes with ‘evil’ paintings. Some connoisseurs even had them depicted on the insides of their kimonos.

There is nothing more beautiful and amazing as Japanese ghosts; nothing possess as much distinct, Japanese emotions and aesthetics. We hope her works suit you, as much as it suits Gallery Naruyama.