村上 早 MURAKAMI Saki

《ふうせん2》 2018年 リフトグランドエッチング、アクアチント、スピットバイト(多色)、 118×150cm
balloon 2   2018   Lift ground etching, Aquatint, Spit bite in colours   118×150cm


村上 早

1992年、群馬県に生まれる。 同地に在住、活動




金井 直《いきつぐ》(のちに《ふうせん》《だびにふす》と改題)の推薦文、「VOCA展2016」カタログ、上野の森美術館、2016年



Born in Gunma, Japan, 1992. Lives and Works in Gunma.

A beast’s body is blown up and hangs from a branch like a balloon. Fireworks varying in size flash on top of a bed and beneath it. Free images slip out of somewhere beyond reality, or rather, out of reality. If these were to be regarded a picture of the wind and that of fire, these scenes and shapes could be interpreted as part of an allegory or commentary on the four elements. According to Murakami, they were created by pulling far-off memories and mental images that suddenly came to mind towards herself and talking them down as pictures.

Murakami is aware of the compatibility of the process through which these images are formed and the copperplate printing technique. Indeed, by lining up the procedure in printmaking, namely contact, engraving, corrosion, application, compression, transfer, and repetition, it could be interpreted as an approach to one’s mental screen. The point that the large picture is not controlled as a single illusionary space produces by a single plate but relies on the juxtaposition of a number of plates, in order words, the fact that there is a potential to rearrange it with constant contingency, is similar to the way one’s mind works. Rather than the direct, instantaneous act or reaction, the mind and a copperplate print are sites for discrepancy, delay, processing, or replacement.

Of course, the charm of Murakami’s works does not end in an analogy with techniques. What is more important is the point that, while looking like a childhood illusion in appearance, not only the work presented here but the world she creates is overflowing with violations of the boundaries between people, beasts, and things. The movement of the simplified lines and the combination of planes are unrestricted and uneasy. At times, there are even uncovered hints of life that affect the human status. Murakami’s prints are an arrangement of such disquietude. The threshold is low, enabling us to slip into the works. (Translated by OGAWA Kikuko)

KANAI Tadashi, Recommendation of Take a Breath (the title of the set of two works was later changed to balloon and Cremate), VOCA 2016 Exhibition, The Ueno Royal Museum, 2016


Please refer to the artist’s social media pages and the gallery’s website for new updates.





《ふうせん》 2015年  リフトグランドエッチング、アクアチント、スピットバイト  118×160cm
balloon   2015  Lift ground etching, Aquatint, Spit bite   118×160cm



《だびにふす》 2015年  リフトグランドエッチング、アクアチント  118×160cm
Cremate 2015  Lift ground etching, Aquatint   118×160cm



《かくす》 2016 リフトグランドエッチング、アクアチント、スピットバイト(多色)、エッチング   118×150cm
Cover   2016   Lift ground etching, Aquatint, Spit bite in colours, Etching  118×150cm



《きろく》 2019  リフトグランドエッチング、アクアチント、スピットバイト  150×118cm
history   2019  Lift ground etching, Aquatint, Spit bite   150×118cm