津上みゆき TSUGAMI Miyuki


《View, the passage of time, Nakashimagawa River, 1:10pm 8 Oct 18》2019年 顔料・アクリル・その他、カンヴァス 各158×300cm (2点) 撮影:金川晋吾 Courtesy of ANOMALY
View, the passage of time, Nakashimagawa River, 1:10pm 8 Oct 18, 2019, Pigment, Acrylic and Others on Canvas, each 158×300cm (2 pieces) Photo by KANAGAWA Shingo Courtesy of ANOMALY











野中 明「『View』ー津上みゆきの仕事」、津上みゆき展「View ー 人の風景」カタログ、長崎県美術館、2019年より抜粋 



Born in Tokyo, Japan, 1973.  Grew up in Osaka, Lives and works in Kanagawa, Japan.



     You can only see a view the way you want to see it.

We can understand these words of the artist as relating to historical context inherent in the act of “seeing.” Information about the external world received through our sense organs never forms an image as it is, rather meaning is acquired by sorting and editing through the framework of perception. And this framework of perception itself has historical context, as it is conditioned by the subject’s experience and the culture – in the broad sense, including language – that shapes this experience. In this sense, it is possible to rephrase the sentence “You can only see a view the way you want to see it” as “You can only see a view as it appears to you.” However, the words of the artist, who seems to speak of the impossibility of capturing a subject as it actually is and about the limitations of “seeing” due to the frameworks of our perceptions, can also be interpreted as expressing her desire to consciously rearrange those frameworks and broaden the possibilities of “seeing.”



Tsugami makes a large number of sketches as part of her regular working process. These sketches, which she describes as “something like a personal diary,” are a daily practice that opens up the possibilities of “seeing.” Here the term “seeing” is not limited to visual experience. As in the quote from Tsugami at the beginning,“(A view) is everything that flows away and disappears, if not I do not record it with my senses and memory” it could be reworded as “sensing.” The view flows away from the viewer, as the present moment flows into the past. Tsugami’s sketches are full of constant questioning about how she “sees” the scene.

The artist brings outdoor sketches back to the studio, and completes a canvas after producing several studies while objectively analyzing and verifying the lines and colors of the sketches. In other words, sketches are evidence of Tsugami’s “seeing” views, her studies are built on that evidence, hypotheses of how she saw the views, and the paintings on canvas are conclusions, the landscape “seen” in a particular way after examining the validity of the hypothesis. With this unique methodology, Tsugami both experiences things first-hand and verifies and judges them: “This is how I saw the view.” Thus Tsugami’s paintings on canvas, with specific locations, dates and times added to titles, gain conviction and certainty.

-Extract from NONAKA Akira, “Views: The Work of Tsugami Miyuki”, Tsugami Miyuki: View — People and Landscapes (Exh.Cat.), Nagasaki Prefectural Art Museum, 2019  (Translated by Christopher STEPHENS)


Please refer to the artist’s website for new updates.


「みえるもののむこう」神奈川県立近代美術館 葉山での展示 撮影:山本糾 Courtesy of ANOMALY

Studies and notebooks, 2019
Sketch:Pencil, Colour pencil, Watercolour, Ink and others on Paper, PCV Plate
Study:Pencil, Colour pencil, Watercolour, Ink, Acrylic, Pastel, Pigment and Polaroid Photograph on Paper 
Installation view at Beyond the Visible, The Museum of Modern Art, Hayama, Japan
Photo by YAMAMOTO Tadasu  Courtesy of ANOMALY



《View, the passage of time, Gokurakujizaka, 20 and 29 Feb. 2020》2020年 顔料・アクリル・その他、カンヴァス 194×227.8cm Courtesy of ANOMALY
View, the passage of time, Gokurakujizaka, 20 and 29 Feb. 2020, 2020, Pigment, Acrylic and Others on Canvas, 194×227.8cm Courtesy of ANOMALY



《View, the trace of time, Narutakigawa River, 2:52pm 6 Oct 18/2019》2019年 顔料・アクリル・その他、カンヴァス 259.2×194.0cm 東京国立近代美術館蔵 Courtesy of ANOMALY 

View, the trace of time, Narutakigawa River, 2:52pm 6 Oct 18/2019, 2019, Pigment, Acrylic and Others on Canvas, 259.2×194.0cm Collection at The National Museum of Modern Art, Tokyo Courtesy of ANOMALY