牧田 愛 / Ai MAKITA

Cosmoplastics[194 ×130 cm, oil on canvas, 2013年]

[SIGNS OF LIFE -生命の気配-], [117 ×91 cm, oil on canvas, 2013年]

waiting・・・[補填], [66 ×66 cm, oil on canvas, 2013年]

1985年 千葉県生まれ
2008年 筑波大学芸術専門学群美術専攻洋画コース卒業
2010年 東京学芸大学大学院教育学研究科 美術教育専攻総合美術コース卒業
2013年 東京藝術大学大学院芸術学専攻美術教育研究科修了

2008年 筑波大学芸術専門学群卒業制作展
      第76回独立美術協会展 新人賞(第77回賞候補)
2009年 独立新人選抜展
2010年 東京学芸大学修了制作展
2011年 アートフェア京都(画廊くにまつ・ホテルモントレ京都)
      nine colors(渋谷西武)
      牧田善晴・愛 父娘二人展(ながの東急)
2012年 アートフェア東京(画廊くにまつ)
      ART KYOTO(画廊くにまつ)
      ART AWRD NEXTU入選(東美アートフォーラム)
      ART TAIPEI(画廊くにまつ)
2013年 アートフェア東京(画廊くにまつ)
      個展[SIGNS OF LIFE -生命の気配-](新宿伊勢丹)
2014年 アートフェア東京(画廊くにまつ)

born in Chiba, Japan 1985, Based in Tokyo JAPAN.

2008 Tsukuba University, Department of Art and Design.
2010 Tokyo Gakugei University, Graduate school of Arts The Fine-arts studies 2011 Studying in the Tokyo university of Arts, Art and education.

[Selectsd solo and group exhibition]
2008 Exhibition of the graduation production of the Tsukuba University art specialized study group
     Won the rookie of the year title by an association of the 76th independent art exhibition
2009 Exhibition of the new face selection of association of independent art
     Exhibition of association of the 63rd painteress
2010 Exhibition of the completion production of Tokyo Gakugei University
2011 Exhibition[nine colors] by nine painters, Shibuya-SEIBU dept, Tokyo
     Exhibition C-DEPOT2011, Tokyo
2012 ART FAIR TOKYO, Tokyo international forum [gallery KUNIMATSU]
     ART KYOTO, Kyoto international forum [gallery KUNIMATSU]
     solo exhibition[jewels], gallery KUNIMATSU
     Exhibition C-DEPOT2012, Tokyo
     ART TAIPEI, Taipei World Trade Center [gallery KUNIMATSU]
2013 ART FAIR TOKYO, Tokyo international forum [gallery KUNIMATSU]
2014 ART FAIR TOKYO, Tokyo international forum [gallery KUNIMATSU]

[Selected grant and awards]
2012 2nd ART AWARD NEXT,
2008 76th The DOKURITSU Exhibition, The rookie of the year title

[Artist Statement]
Depicting the inanimate inherently involves a paradox. At the heart of my concern is always living human existence. Yet I still cannot but depict inanimate objects. This is a paradox. This is a paradox of modernity that the inanimate reveals more vividly the essence of the animated, the nature of living human existence.

In our pursuit of better and convenient life, modern society has gradually shown its inhuman nature. Technological advancement is now reaching to the point that the artificial intelligence emerges as a substitute for human brain. The mechanical operation has come to displace what was previously human. Here is the origin of ineffable apathy, a sense of impersonality and emptiness. Here is the origin of our vague sense of fear.

In an age of scientific technology, human beings have long continued to confront the Nature. Mankind has attempted to make this impossible mission possible by technological advancement. People have sought for the perfect beauty and the absolute truth, by artificially reproducing the sublime disclosed by the Nature.

J. Gilbert Rolf, an English art critic, pointed out that the overall trend in human creative activities has changed its character throughout modern history, from the painting as a “craft by hand” to what he called “the photographic.” Human creativity has aspired after the “modern sublime,” in which people have pursued artificial and homogeneous texture as represented by plastic and polyester.

My work unveils the strain between the organic and the inorganic. I approach the cold shine of inorganic and inhuman substances by utilizing such analog tools as brush and paint. Perfect form and unclouded shine of technological substances symbolize the modern sublime. Depicting technological expressions of the modern sublime “by hand” would lead us to the reconsideration of modernity itself.