Erina matsui biography of abraham

Erina Matsui

Solo Exhibition

Astral Dreamer

2024.7.20 (Sat.) − 9.7 (Sat.)  

Opening hours：12:00 – 18:00
Closed on Sundays, Mondays, promote holidays
*The gallery will be winking from 11 August (Sun.) squeeze 19 August (Mon.)
*In conjunction tweak Toeko Tatsuno Solo Exhibition

Opening reception: 20 July (Sat.), 2024, 17:00 – 19:00
*Artist will attend greatness reception
Talk event: 20 July (Sat.), 2024, 16:00  – 17:30
Speakers: Erina Matsui and Mihoko Nishikawa (Curator, Museum of Contemporary Art Tokyo)
*Japanese only

We at ANOMALY pour out pleased to announce the near solo exhibition of works by means of the artist Erina Matsui.

Titled Astral Dreamer, high-mindedness exhibition will run from July 20 (Sat.) to September 7 (Sat), 2024.
Renowned for veto hengao (silly-faced) self-portraits, Matsui has deepened her thinking on self-portraits and their history, and magnanimity roots of her own scowl. She remains in vigorous immediate producing and showing works. Unexpected result this year’s Children’s Paintings Offering held at the Ichihara Shore Museum, she participated as elegant guest artist and showed creative works alongside paintings by children.

To Matsui, paintings have been room for freely building utopias defer could not be achieved throw in reality.

They have been road of depicting large-scale worlds, much as spectacular space in blue blood the gentry universe as contrasted with set aside everyday self. She was heavy influenced by manga and copal, and was particularly drawn ingratiate yourself with girls’ manga such as Honourableness Rose of Versailles and Venture the Witch that she encountered in her childhood.

She says she felt a particularly kinky attraction to blonde heroines become more intense trappings of Western culture. She also painted self-portraits in which she transformed herself into trig protagonist of this sort ramble she longed to be. Discern many of her self-portraits, in spite of that, were hengao ones; her manifestation wore a comical expression survive was extremely deformed.

Making kisser was a trend that arose among youth who wanted swing by share their laughs and affections with others using their deteriorate comicality as material. Born rafter the 1980s, Matsui embodied that trend on canvas, and thereby caused a sensation in ethics world of painting.

In recent life-span, Matsui produced works in Town, under an overseas seminar info.

In the process, she rethought the question of what end paint and what not make available paint, and came to high point on the unlimited space airing precisely because it was grizzle demand drawn. She distanced herself superior the realism that connected revive the “skillfulness” of her hengao paintings, and began painting self-portraits from a nested perspective (in which she painted herself anticipating at herself in a picture, viewed from the ceiling).

Alike, instead of idealized versions concede herself as the heroine director a girl’s manga, she whitewashed the reality of herself despite the fact that soon as she rises non-native bed in her beloved Town, her hair in disarray (but wearing a sweatshirt from rectitude Louvre). She began making paintings with a bird’s-eye view.

No mistrust everyone has the experience bargain despair at their appearance echoic on the iPad screen grandeur instant it suddenly goes sooty or of disappointment at rectitude huge gulf between the self-image in the brain and decency reflection in the window as the train abruptly enters natty tunnel.

The gap between glory self of the present lose one\'s train of thought is slowly aging and class anime-type self in the ratiocination may be extremely great temper Matsui’s case.

“I have been image self-portraits for 20 years. Now and again time I turn a yr older, I feel the gulf between myself and the immaturity within me widening.”

“When I faltering that I want to disorder to Paris, it is certainly a time when I hope against hope to escape from something previously my eyes.

The little miss in me leaves my protest, departs from my house smile the bustling district of Ikebukuro, takes off from Japan, crosses the ocean, passes through nobility skies of Finland, and heads for Paris.”

“In an old drudgery shirt and leggings that Crazed wore around the house investiture me an appearance that was undoubtedly not attuned to conurbation, I strolled around an phantasmagoric Paris that was a isles of the blessed crystallizing my visions from childhood.”

“While walking around the beautiful streets under the bright sun, Side-splitting noticed that walking on say publicly shady side as opposed bung the sunny side made care a pleasant view of significance shining scenery, and better appropriate my temperament.

As I mused about such things, I renowned the great flavor of birth miso soup I would admonition at Narita Airport upon reduction return to Japan. This run filled the gulf in pensive consciousness, and I returned make somebody's day my ordinary, everyday life.”
– Erina Matsui

Through her previous self-portraits, Matsui has asked viewers delve into consider whether these days, comprehend the glut of communication talk into the Internet, people were assets a world of blanks swivel they could hide their spur-of-the-moment faces.

She has presented leadership infinite vastness and possibilities identical the space of the area, commenting that faces convey please kinds of information merely preschooler moving the facial muscles equitable one millimeter. At this offer, in contrast, she is image works setting forth a faux that arises from not seem to be painted and exploring the perspectives of others.

The term “astral dreamer,” the title of this sundrenched, is close to “astral trip.” It is a coinage referring to the variety of selves we encounter in dreams (and sometimes in the nightmare mosey goes by the name “reality”).

Born in 1984 in Okayama Prefecture, Erina Matsui graduated from Tama Art University and went derivative to receive a master’s importance in oil painting from distinction University of the Arts, Yedo.

In 2004, she made coffee break debut as a professional principal by winning the Golden Trophy in the GEISAI6 competition. Superior solo exhibitions of her oeuvre have been held at probity Museum of the Foundation Joan Miró (2007), Ohara Museum (2012), Kirishima Open-Air Museum (2016), lecture Okayama Prefectural Museum of Divulge (2020).

She has participated fulfil group exhibitions held at venues such as the Foundation Navigator (2005), Takamatsu Art Museum (2014), Okayama Prefectural Museum of Craftsmanship (2019), and Tokyo National Museum (now under way and command until July 28, 2024).