内田あぐり UCHIDA Aguri
「内田あぐり——化身、あるいは残丘」2019年 武蔵野美術大学美術館・図書館会場風景 撮影：山本糾
左：《残丘ーあくがれ》2019年 岩絵具 墨 膠 雲肌麻紙 783.0×194.0cm
右：《自画像》1972年 岩絵具 墨 膠 雲肌麻紙 27.3×22.0cm
Aguri Uchida ; Incarnated Painting As Inselberg, 2019, Installation view at Musashino Art University Museum & Library, Photo by YAMAMOTO Tadasu
Left : Inselberg Drifting, 2019, Mineral pigment, Sumi ink, Animal glue, Kozo-paper, Twisted paper string on Japanese paper, 783.0×194.0cm
Right : Self-Portrait, 1972, Mineral pigment, Sumi ink, Animal glue on Japanese paper, 27.3×22.0cm
内田あぐり
UCHIDA Aguri
1949年、東京都生まれ 神奈川県に在住、活動。
残丘、立ち現れるもの
一貫して「人」をテーマに描かれてきた内田あぐり作品は、「自然」を組成とする日本画の有機的な技法に景色を委ねながらも、その表現は挑発的に生の形質（＝身体）を絵画なるものへと再構成します。水平の画面に、たらし込みによって水に溶けた顔料の色面が広がる一方で、墨によって描かれた人体の骨格の上に、動物の皮や脊髄からなる膠によって、麻紙にその岩絵具の色やマチエールを定着させます。その物質的で濃密なる画面には、大胆であって緻密なる筆致が重奏し、まさに自然現象がつくりだす自己相似性のような深淵なる形象によって、絵画の原質を描きだします。
学生時代から公募展（後に全て退会）などで作品を発表し高い評価を得ながらも、その表現は固定観念にしばられず、身体の核心に迫るべく純化してゆきました。確かな日本画の才幹が認められる一方、伝統技法の枠にとらわれない作品群は、現代日本画として新たな地平を開いてきました。その表現は具象から抽象、現実から非現実なもの、あるいは非理性的なものまで内包しながら展開しました。
（中略）
作品のなかで描かれてきた人体は、絵画表現におけるモチーフであると同時に、作品のなかで暫定的に現れ、そして内田のなかで対話を繰り返します。そのなかで身体の形象は、描くという行為によって一つの現象として客体化され、いわば絵画の表現と解釈による経験的応答によって画面に定着されます。そのような相変化を繰り返しながら、一つの絵画の形相が生みだされます。
永い年月のなかで、堆積と浸食あるいは地盤崩壊と隆起といった自然現象を重ねるなかで孤立した残丘のように、作品においても解体と再構成といった行為、あるいは絵画的経験と再認識の連続によってその形質がつくられます。《残丘―あくがれ》は現象としての知覚を越えたところに、いわば表現の本性をたぐり寄せることよって、眼前にその姿を呈します。それは悠久の時のなかで形づくられた残丘を見るように、普遍的な人間存在の意識下へとその眼差しを深化させます。（後略）
北澤智豊「残丘、立ち現れるもの」より一部抜粋、『内田あぐり——化身、あるいは残丘』展図録、武蔵野美術大学美術館·図書館、2019年
Born in Tokyo, Japan, 1949. Lives and works in Kanagawa, Japan.
Inselberg—The Emergence
Uchida Aguri has consistently depicted her works based on the theme of “human.” Although the scenes in her painting rely on the organic methods of Nihonga (Japanese-style painting), which is composed of images existing in “nature,” her expressions provocatively reconstruct the characteristics of life (that is, a human body) into what can be referred to as a painting. The color-field that stretches across the horizontal surface plane is composed by the dripping technique, using water-dissolved mineral pigments. In addition, she depicts a human figure with sumi ink, over which she fixes color mineral pigments and textures on hemp paper with nikawa glue, which is made from such substances as animal skin and spinal cord. The bold and elaborate brushstrokes harmonize on that plane, which conveys a strong sense of physicality and density. This results in manifesting the very essence of painting, through the profound forms that have close self-similarities with those created by natural phenomena.
From the time she was a university student, Uchida showed her works in such venues as open-call exhibitions (organized by conservative art associations in Japan to which she belonged, though she would later resign from all such groups), through which she became highly recognized. Nevertheless, her expressions were not shackled by fixed ideas possessed by the said type of art association; rather, she refined her expressions so as to draw closer to the essence of a human body. While her talent in Nihonga had gained recognition, her works that did not adhere to traditional painting techniques continued to open a new horizon in the genre of contemporary Nihonga. Her expressions were developed through encompassing a wide range of genres, including representational, abstract, realistic, non-realistic, and even irrational ideas.
…
The human figure Uchida portrays is both the motif of her painting expression and a form that temporarily appears in the process, with which she repeatedly converses with in silence. Through her act of painting, the human figure is objectified as a phenomenon. Thus, the human figure is fixed on the picture plane via her experiential responses based on her painting expression and interpretation. The form of a single painting is generated through the repeating of such phase transitions.
An inselberg becomes an isolated hill over the course of a great many years of natural phenomena, such as sedimentation and erosion, and the collapse and upheaval of earth. Similar to this, the characteristics of Uchida’s works are also created through her act of dismantling and reconstructing images, or through her continual painterly experience and new recognitions. Her work Inselberg-Drifting manifests itself before our eyes as a result of her drawing closer to the essence of artistic expression, which exists on a level beyond human perception as a phenomenon. This deepens the viewer’s gaze into the subconscious of universal human existence, as if he/she were viewing an inselberg that was formed within the eternal passage of time. (Rest of original essay omitted.)
KITAZAWA Tomoto , excerpt from the essay “Inselberg—The Emergence” , Aguri Uchida: Incarnated Painting as Inselberg(exhibition catalog), Musashino Art University Museum & Library, 2019.
(Translated by NANPEI Taeko)
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「内田あぐり——化身、あるいは残丘」 2019年 武蔵野美術大学美術館・図書館会場風景 撮影：山本糾
左：《男》1984年 岩絵具 墨 膠 雲肌麻紙 73.0×91.0cm
右：《三つの肉体》1998年 岩絵具 墨 膠 箔 楮紙 布 雲肌麻紙 190.0×69.0cm (2点), 116.7×116.7cm
Aguri Uchida ; Incarnated Painting As Inselberg, 2019, Installation view at Musashino Art University Museum & Library, Photo by YAMAMOTO Tadasu
Left：A man, 1984, Mineral pigment, Sumi ink, Animal glue on Japanese paper, 73.0×91.0cm
Right：Three Bodies, 1998, Mineral pigment, Sumi ink, Animal glue, Foil, Kozo-paper and Cloth on Japanese paper, 190.0×69.0cm (2pieces), 116.7×116.7cm
「内田あぐり——化身、あるいは残丘」2019年 武蔵野美術大学美術館・図書館会場風景 撮影：山本糾
右：《消光 #12h》2012年 岩絵具 墨 膠 楮紙 紙縒/雲肌麻紙 220.0×360.0cm
Aguri Uchida ; Incarneted Painting As Inselberg, 2019, Installation view at Musashino Art University Museum & Library, Photo by YAMAMOTO Tadasu
Right：Passing Time #12h, 2012, Mineral pigment, Sumi ink, Animal glue, Kozo-paper, Twisted-paper string on Japanese paper, 220.0×360.0cm
「内田あぐり——化身、あるいは残丘」2019年 武蔵野美術大学美術館・図書館会場風景 撮影：山本糾
《ドローイング・クロノロジー 》2000－2009年 鉛筆、木炭、墨、コンテ、アクリル絵具 / 紙
Aguri Uchida ; Incarneted Painting As Inselberg, 2019, Installation view at Musashino Art University Museum & Library, Photo by YAMAMOTO Tadasu
Chronoligy of Uchida’s Drawings, 2000-2009, Pencil, Charcoal, Sumi ink, Conté crayon and Acrylic on Paper
