- That wound（©︎Saya Okubo, courtesy of the artist and WAITINGROOM）／2024
Saya Okubo
大久保紗也
- ART FAIR - MEET YOUR ARTISTS
2017 Kyoto University of Art and Design, Graduate School of Art and Design, Department of Painting, Completed
2015 Graduated from Kyoto University of Art and Design, Department of Arts and Crafts, Oil Painting Course
My work is inspired by my own drawings drawn with a pen on paper, and is an act of exploring the existence and reality of objects and people in flat space. When we live our lives surrounded by countless flat surfaces (displays) every day, we sometimes confuse reality with the flat world. In that shallow space, phenomena are as if they were actually experienced events, or the objects and people we encounter in our daily lives suddenly feel flimsy. Our perception oscillates between planes and objects.
When I draw with a pen on paper, I wonder what the line is and what it means.
The lines drawn on the paper before they can be clearly understood are transformed into abstract forms by physical habits and intuitive assumptions, even though they follow the outline of the motif. "Truth" and "accuracy" are always transformed within the individual who receives them. Drawing is my best way to capture the world, and even if it is jumbled out or rewritten many times, it is still a response to what I see. The movement of the body and the assumption or transformation of the meaning attached to the action are made by my selfish delineation.
A painting is an ambiguous thing that can be perceived as both an object and a flat surface. When a motif is dropped onto the canvas, the two-dimensional expression represented by the outline and the undulation of the phenomeral image with a sense of substance are mixed on top of the painting. And the elements are sometimes dissolved and confused in recognition, sometimes separated and disconnected.
Painting as a place where different layers are combined, transformed, and transformed.
Detached from precision, the motifs released with my personal physicality and memories enter into individual associations with new contours. I believe that the contours of existence are such a fluctuating and vague thing.
2017 Kyoto University of Art and Design, Master’s degree, Oil Painting
2015 Kyoto University of Art and Design, Bachelor’s degree, Oil Painting
My practice involves using my own drawings made with pen on paper as an opportunity to explore the presence and existence of objects and people in two-dimensional space. Surrounded by countless flat surfaces (displays) in our daily lives, we sometimes confuse reality with the flat world. It is as if the phenomena in that depthless space were events that were actually experienced, or as if the objects and people we encounter in our daily lives suddenly feel very thin. Our perceptions oscillate between planes and bodies/objects.
When I draw with pen on paper, I wonder what the lines are following and what they mean. The lines that have been drawn before I could understand them clearly do follow the contours of a motif but transform into abstract forms through my physical habits and intuitive preconceptions. “Truth” or “accuracy” is always altered in the individual who receives it. A drawing is my most suitable solution for the world I captured, and even if it is mangled and erased, even if it is redrawn many times, it remains a response to what I saw. The acceptance and conversion of the movements of my body and the meanings that accompany them—This is what happens through my self-centered drawing of lines.
Paintings are ambiguous things that can be understood both as objects and planes. When applying a motif to a surface, the two-dimensional representations, expressed as contour lines, and the phenomenal undulation of the image arising with materiality coexist over the pain ting. As they are recognized by the viewer, these elements are sometimes dissolved and confused, and sometimes separated and disconnected.
Painting as a place where different layers are combined, transformed and converted. Divorced from accuracy and released along my personal physicality and memories, the motifs enter individuals and their own associations with new contours. I believe that the outlines of existence are thus wavering and vague.
Saya Okubo_CV
2015 Graduated from Kyoto University of Art and Design, Department of Arts and Crafts, Oil Painting Course
My work is inspired by my own drawings drawn with a pen on paper, and is an act of exploring the existence and reality of objects and people in flat space. When we live our lives surrounded by countless flat surfaces (displays) every day, we sometimes confuse reality with the flat world. In that shallow space, phenomena are as if they were actually experienced events, or the objects and people we encounter in our daily lives suddenly feel flimsy. Our perception oscillates between planes and objects.
When I draw with a pen on paper, I wonder what the line is and what it means.
The lines drawn on the paper before they can be clearly understood are transformed into abstract forms by physical habits and intuitive assumptions, even though they follow the outline of the motif. "Truth" and "accuracy" are always transformed within the individual who receives them. Drawing is my best way to capture the world, and even if it is jumbled out or rewritten many times, it is still a response to what I see. The movement of the body and the assumption or transformation of the meaning attached to the action are made by my selfish delineation.
A painting is an ambiguous thing that can be perceived as both an object and a flat surface. When a motif is dropped onto the canvas, the two-dimensional expression represented by the outline and the undulation of the phenomeral image with a sense of substance are mixed on top of the painting. And the elements are sometimes dissolved and confused in recognition, sometimes separated and disconnected.
Painting as a place where different layers are combined, transformed, and transformed.
Detached from precision, the motifs released with my personal physicality and memories enter into individual associations with new contours. I believe that the contours of existence are such a fluctuating and vague thing.
2017 Kyoto University of Art and Design, Master’s degree, Oil Painting
2015 Kyoto University of Art and Design, Bachelor’s degree, Oil Painting
My practice involves using my own drawings made with pen on paper as an opportunity to explore the presence and existence of objects and people in two-dimensional space. Surrounded by countless flat surfaces (displays) in our daily lives, we sometimes confuse reality with the flat world. It is as if the phenomena in that depthless space were events that were actually experienced, or as if the objects and people we encounter in our daily lives suddenly feel very thin. Our perceptions oscillate between planes and bodies/objects.
When I draw with pen on paper, I wonder what the lines are following and what they mean. The lines that have been drawn before I could understand them clearly do follow the contours of a motif but transform into abstract forms through my physical habits and intuitive preconceptions. “Truth” or “accuracy” is always altered in the individual who receives it. A drawing is my most suitable solution for the world I captured, and even if it is mangled and erased, even if it is redrawn many times, it remains a response to what I saw. The acceptance and conversion of the movements of my body and the meanings that accompany them—This is what happens through my self-centered drawing of lines.
Paintings are ambiguous things that can be understood both as objects and planes. When applying a motif to a surface, the two-dimensional representations, expressed as contour lines, and the phenomenal undulation of the image arising with materiality coexist over the pain ting. As they are recognized by the viewer, these elements are sometimes dissolved and confused, and sometimes separated and disconnected.
Painting as a place where different layers are combined, transformed and converted. Divorced from accuracy and released along my personal physicality and memories, the motifs enter individuals and their own associations with new contours. I believe that the outlines of existence are thus wavering and vague.
Saya Okubo_CV
