La Galerie de Ken Wada 2

皆様、こんにちは。
この度、イタリアの Effetto Arte Foundation が主催する「第2回インターナショナル・プライズ・ボッティチェッリ」を受賞しました。
僕の作品が、二人のキュレーター Salvatore Russo と Francesco Saverio Russo によって、この賞に選出されました。
家族の在宅介護をしていますので、フィレンツェの由緒ある宮殿パラッツオ・ボルゲーゼ (Borghese Palace) で、2024年1月20日に開催された受賞セレモニーには行けませんでしたが、そのかわり？に2016年11月にボローニャで行われた展覧会の際に、フィレンツェまで足を伸ばして、この中世の偉大な街を初めて訪れた時のことを、大変懐かしく思い出しました。
サンタ・マリア・ノヴェッラ駅に朝着いた後、まずは予約していた安宿をうろうろ探して重い荷物をおろし、「よ〜し、今日はたっぷり観てやるぞ！」とばかりに、まずはサンタ・マリア・デル・フィオーレ大聖堂を訪れ強い衝撃を受け、ドゥオーモ内のドメニコ・ディ・ミケリーノの『ダンテ「神曲」の詩人』に感銘し、フィレンツェに来て「神曲」もまだ読んでいないのでは、さすがにこれはまずいなと思い、次いで、ウフィツィ美術館でイタリア・ルネサンス絵画を浴びるほど観て、ボッティチェッリの「プリマヴェーラ」にまたもや強い衝撃を受け、結局、午後中かけて全作品を観て、最後はフラフラ？になり、アルノ川に架かるヴェッキオ橋にたどり着いた頃には、もう日がすっかり暮れてと・・・、要はありきたりのコースを一人で歩きながら、晩秋のフィレンツェを巡ったのでした。
帰国して早速、ダンテのまずは「新生」を読み始め、続いて、平川祐󠄀弘氏訳の河出書房新社版で、「神曲」を読んだのでした。
え〜と、確か先に「新生」を読んでおかないと、「神曲」を読んでも、ベアトリーチェが理解できないと思ったのでした。
なんで、こんな細かいことをいろいろ覚えているかと言うと、これはかなりわかりやすい理由で、日記をつけているからです。
その日記も今年で26年目になりました。
ちなみに、毎日つけている簡単な家計簿も今年で26年目になりました。
さらには、毎朝続けているお経も今年で25年目になりました。
そして、その分、僕は確実に年を取りました(笑)。
しかし、なんだかんだと、これまでいつもイタリアとは縁があるな、とても不思議ですね、それではまた、チャオ！

2024年1月28日
和田　健

Dear friends,

It is my pleasure to inform you that I was awarded the International Prize Botticelli by the Effetto Arte Foundation in Italy.
My artwork was curated by Salvatore Russo & Francesco Saverio Russo for this award.
The awards ceremony, which I was unfortunately unable to attend, was held on January 20, 2024 at the beautiful and grand Borghese Palace in Florence.

Warmest regards,
Ken WADA

Chers mes amis,

J’ai le plaisr de vous annoncer que j’ai reçu le prix International Prize Botticelli de la Effetto Arte Fondatzione en Italie.
La cérémonie de remise des prix, à laquelle je n’ai malheureusement pas pu assister, a eu lieu le 20 janvier 2024 au magnifique et majestueux Palazzo Borghese à Florence.

Bien amicalement,
Ken WADA

皆様、こんにちは。
この度、現代美術キュレーターマガジン (Contemporary Art Curator Magazine) の編集者マルタ・プイグさんが、僕のシリーズ作品「Untitled 2022」の8作品に、Professional Art Review を書いてくださいましたので、以下にご紹介させていたただきます。

2024年1月18日
和田　健

Dear friends,

MARTA PUIG, editor of Contemporary Art Curator Magazine, wrote a Professional Art Review for eight works in my series “Untitled 2022”, which I would like to introduce below.

Warmest regards,
Ken WADA

Chers mes amis,

MARTA PUIG, rédactrice en chef du magazine Contemporary Art Curator, a rédigé une revue d’art professionnelle sur huit œuvres de ma série “Untitled 2022”, que je voudrais présenter ci-dessous.

Bien amicalement,
Ken WADA

Ken WADA, Untitled 2022 No.9, 2022
Acrylic on canvas, 29.0×24.0 in. (72.7×60.6 cm)

Ken WADA

Ken Wada, an artist whose work is evocative of the lyrical abstraction movement, channels a sense of emotive spontaneity through his bold and colorful compositions. His paintings, characterized by their rich, vibrant blocks of color, create a visual language that is both simple in form and profound in its potential to evoke emotional resonance.

Wada’s artistic style is distinctive for its utilization of geometric abstraction. Each canvas is a mosaic of color, with squares and rectangles of varying sizes and hues juxtaposed against one another. The interplay of shapes and the contrasts between them—be it in color, scale, or texture—create a rhythmic harmony that is reminiscent of musical compositions. The edges of these shapes, sometimes crisp and sometimes blurred, suggest an organic process of creation, where control and chance coexist.

The use of color in Wada’s work is both intentional and intuitive. His palette ranges from serene blues and greens to exuberant yellows and reds, imparting each painting with its own mood and character. The application of paint varies from thick, impasto-like textures to thin, almost translucent layers, adding depth and dimension to the flat geometric forms. This tactility invites the viewer to not only see but also feel the paintings, engaging multiple senses in the experience of the artwork.

Wada’s compositions often forgo the traditional central focal point, instead allowing the viewer’s eye to wander across the canvas in a contemplative journey. This decentralized approach to composition speaks to a modern sensibility, where the notion of multiplicity and the breaking down of hierarchical structures are celebrated. In this sense, Wada’s work reflects a contemporary world that is interconnected and diverse, mirroring the complexity of its visual stimuli.

Wada stands out for his commitment to abstraction and the emotive power of color. While many artists of his generation have embraced digital mediums and conceptual art forms, Wada’s paintings hark back to the physicality of the brush and canvas. His work offers a counter-narrative to the sometimes sterile and impersonal nature of much contemporary art, providing a bridge between the viewer and the visceral act of painting.

Wada’s art does not shout for attention with gimmicks or shock value. Instead, it exudes a quiet confidence, secure in the knowledge that there is strength in subtlety and power in simplicity. His canvases are spaces where emotion and intellect coalesce, prompting introspection and meditation. They act as a respite from the frenetic pace of modern life, inviting the viewer to pause and reflect.

Within the contemporary art scene, Wada’s work is both a nod to the past and a statement of the present. His paintings resonate with the influence of mid-20th-century abstractionists who pushed the boundaries of what art could be. Yet, they are unmistakably current, speaking a visual language that is fluent in the aesthetics of today’s globalized culture.

Wada’s artistry lies in his ability to transcend the canvas and engage with the viewer on a deeply personal level. His paintings are not just to be observed; they are to be experienced. Each piece is a microcosm of emotion and thought, a segment of Wada’s worldview rendered in color and form. This personal imprint allows for a unique connection between the artwork and the audience, making each interaction with his pieces a distinct encounter.

Wada’s work is a testament to the enduring relevance of abstract painting. His canvases challenge the viewer to find meaning beyond the representational, to connect with art in a way that is both primal and sophisticated. His confident use of color and form is a powerful reminder that art need not be laden with overt messages to be profound or to communicate effectively.

In terms of placement within the contemporary art scene, Wada’s work serves as a bridge between the abstract expressionists of the post-war era and the current generation of artists exploring minimalism and post-painterly abstraction. His canvases align with the works of artists who are reinventing and reinvigorating the conversation around abstraction, proving that this genre is far from static or historical; it is a living, breathing mode of expression that continues to evolve. Wada’s contribution to contemporary art is also significant in the context of the global art market, where there is a renewed interest in painters who can blend classical techniques with a modern aesthetic. His work is accessible yet layered, providing both an immediate visual impact and deeper levels of engagement for those who seek it. Collectors are drawn to Ken Wada’s paintings for their vibrant interplay of color and form which strikes a balance between serene contemplation and dynamic expression. His geometric abstractions, reminiscent of the lyrical abstraction movement, offer a timeless appeal, resonating with the primal power of color while engaging with contemporary sensibilities. Wada’s works are versatile, fitting into various settings and collections due to their universal language of emotion and beauty. His canvases are not merely decorative but are profound, thought-provoking pieces that hold a magnetic presence, promising to invigorate and harmonize with the spaces they inhabit. Each piece is a testament to Wada’s masterful ability to communicate through abstraction, making them coveted assets for collectors.

By Marta Puig

Editor Contemporary Art Curator Magazine

Summer Mountain Painting No.1, 2019
Acrylic and multi-talented pencil on paper, 28.0×32.0 in. (70.8×80.5 cm)

現在、ロンドンやバルセロナに活動の拠点がある Contemporary Art Station の “Contemporary Expressions Award” に、僕の2019年の作品「ナツヤマペインティング No.1」がノミネートされています。
こちらのページ↓です。
https://www.contemporaryartstation.com/online-catalogue/2022/3/27/ken-wada-japan

この作品には、かなりてこずり、とても深い思い入れがありますが、これまで発表する機会に恵まれませんでした。
もう僕の展覧会はなくなりましたので、たとえこうした形であっても、皆様に観ていただければ、作家としては大変うれしいです。
他の国のアーティストの作品も、皆さん、それぞれ素晴らしいですね。
いつも思うことですが、アートには国境がなく、絵画には翻訳が要りません。

まったく同じような意味合いで、4月1日にアトリエで、ふと目について撮った写真のご紹介なのですが、2021年のこの4作品も、個人的にはとても好きな作品ですが、ついに一度も展示する機会がなく終わってしまいました。
残念ですが、もう仕方がありませんね。
本当にそのままパッと撮りましたので、並べ方とか結構バラバラです。
コンポーズブルー#2と黒を組み合わせて、ピンクでサインを入れました。
F15号のキャンバスを使いましたので、大きさはそれぞれ 65.2×53.0 cm の小さめの4作品です。

Untitled 2021 No.1-4 ーfrom the series Black and Blue Paintingsー, 2021,
Acrylic on canvas, each 26.0×21.0 in. (65.2×53.0 cm)

2022年4月9日
和田　健