biscuit gallery 新井 碧｜Midori Arai
Profile
Born in Ibaraki Prefecture in 1992
Graduated from Tokyo Zokei University, Faculty of Design, Department of Fine Art, Painting Major in 2015
Completed Master’s Program in Art Research, Oil Painting Major at Kyoto University of the Arts in 2022
Exhibition History
【Solo Exhibitions】
2024
“AVOWAL” Tokyo International Gallery, Tokyo
2023
“Sustaining Lines” FOAM CONTEMPORARY, Tokyo
2022
“Synonym of a Blink” biscuit gallery, Tokyo
2021
“Outline of Pulse” chignitta space, Osaka
【Group Exhibitions】
2024
-“Curator × Contemporary Art” ASTER CURATOR MUSEUM, Kanazawa
-“nine colors” Hankyu Umeda Main Store, Osaka
-“The echoes of EAST KYOTO” what cafe, Tokyo
-“ART FAIR ART One&Only” SETEC, Seoul
-“SILENT RESONANCE” Galerie Lulla, Los Angeles
2023
– Two-person Exhibition “Painting Rhythm” biscuit gallery karuizawa, Nagano
-“Space—The Margin of Imagination” graf porch, Osaka
-“ART FAIR TOKYO 2023” Tokyo International Forum, Tokyo
– biscuit gallery second anniversary exhibition “grid2” biscuit gallery, Tokyo
-“Fundamentals Fest” University of Tokyo Komaba Small Space, Tokyo
-“Vastness / Undulating Rhythm” GALLERY HAYASHI+ART BRIDGE, Tokyo
-“MEET YOUR ART FESTIVAL 2023 Time to Change” Terada Warehouse B&C Hall, Tokyo
-“Contraction and Peeling” HIRO OKAMOTO GALLERY, Tokyo
2022
-“Centre-Empty—The Journey of Emptiness—” (Art Collaboration Kyoto Collaborative Program) Kenninji Temple Ryoushokuin, Kyoto
-“Next Landscape-Post Landscape-” ASTER, Kanazawa
– Meet Your Art Festival Art Fair, Tokyo
– biscuit gallery first anniversary exhibition “grid” biscuit gallery, Tokyo
2021
-“MEET YOUR ART at ART ART OSAKA” (MEET YOUR ART Planning) Daimaru Umeda Store 15F Special Venue | 1F East Special Venue, Osaka
-“SUIKEI ART FAIR OSAKA” (YOMAFIG. Planning) Hotel Noum OSAKA, Osaka
-“Kengo Kito (Kyoto University of the Arts) × Kaori Usui Kubo (Tokyo University of the Arts) Recommended Artists Exhibition” Seibu Shibuya Store Building B, 8th Floor Art Gallery・Alternative Space, Tokyo
-“Re: Perspective” graf porch (National Museum of Art, Osaka “Beuys + Palermo” Satellite Project), Osaka
-“SHIBUYA STYLE vol.15” Seibu Shibuya Store Building B, 8th Floor Art Gallery・Alternative Space, Tokyo
-“Collectors’ Collective vol.6 Osaka” TEZUKAYAMA GALLERY / VIEWING ROOM, Osaka
-“Kyoto University of the Arts Graduate Exhibition” Kyoto University of the Arts
2020
“Turner Award 2020 Selected Exhibition” TURNER GALLERY, Tokyo2015
-“zokei Exhibition” Tokyo Zokei University Graduation Works Exhibition, Tokyo
-“Five Tokyo Art Universities Joint Graduation Works Exhibition” National Art Center, Tokyo
Awards
2022
“Kyoto University of the Arts Graduate Exhibition 2022” Excellence Award
2021
“Turner Award 2020” Selected
Concept
Is it not possible that the desire to leave behind evidence of one’s existence for future generations, or to transmit information to descendants who must live in this irrational and imbalanced world, has led to the act of “leaving traces,” and that art has developed through this desire?
Painting, a medium that developed as a means to preserve and convey human intention, can be said to be precisely “traces of life,” evidence that “life once existed.”
I compose my paintings with brush strokes accompanied by physicality, forms and outlines that are difficult to understand at first glance, seemingly meaningless unconscious lines, and empty space.
These elements—the “act” of trying to depict a motif and the “movements” generated as a derivative of that “act,” which constitute the structural elements of painting—easily reflect human bodily noise and automatically contain within the composition the time I have lived.
Painting that embodies experiential temporality, with time and action as its axis
—a structure in which the unconscious is intentionally chosen—
causes viewers to physically imagine and re-experience the “act of painting” itself.
And this becomes a clue for thinking about and imagining others and society from individual time, body, and subjectivity, leading to “contemplating the finiteness of life.”
All beings that possess life are equally vulnerable.
As long as we seek necessity in this accidentally created planet, as long as the survival strategy of humans as animals is “sociality,” we must confront all contradictions and absurdities.
Because science and medicine have advanced, and it is now an era of symbiosis where even the vulnerable can survive, I contemplate the finiteness of life and trap time within painting to leave behind traces of my own existence.
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