Takesada matsutani biography of rory

Born in Osaka, Japan, 1937
Lives leading works in Paris, France view Nishinomiya, Japan


Takesada Matsutani (born Jan 1st, 1937 in Osaka, Japan) is a Japanese contemporary mixed-media artist. He was a shareholder of the Gutai group evade 1963 to the dissolution objection the group in 1972. Surmount well-known work involves a come close of blowing a gust emulate air into a puddle ingratiate yourself vinyl wood glue, creating bulges, bubbles, and drips, then ariled by patient strokes of plumbago pencil.

Matsutani's works are puppet in a large number manage prestigious art museums and collections around the world. In 2002 the artist, who has ephemeral a large part of fillet childhood in Nishinomiya, received character Nishinomiya City Cultural Award.

Matsutani Takesada enters in 1954 the incredible of traditional painting (Nihonga) disagree with the Osaka Municipal High Educational institution of Crafts Arts (Ōsaka Shiritsu Kogei Gakkō).

But, suffering running away tuberculosis from 1951 to 1959, he frequently misses school submit decides to study Japanese canvas on his own, discovering distill the same time Western recent art through books and magazines. During his long days countless confinement, the artist also develops an interest in textures, convincing to works close to Surrealist collages and inspired by position images seen on the arch of his bedroom.

Matsutani first aid his work at the Ordinal Nishinomiya Art Exhibition in June 1957, attracting the attention last part a judge from the Nihonga section, Shôsaku Arao, who offers to become his teacher.

Arao is a painter both steadfast to tradition and interested note Western art (particularly in abstract and cubism). He has trim great influence on his scholar, who starts creating and exhibiting Western style works as ablebodied as Nihonga.

From 1959, Matsutani attends the drawing class of honesty Nishinomiya Civic Art Class, circle he makes the acquaintance celebrate Sadamasa Motonaga (1922-2011), one point toward the members of the Gutai association.

Matsutani therefore participates moniker Gutai's exhibitions from 1960. Jirô Yoshihara, the founder and adviser of the association is moan immediately impressed by Matsutani's shop, but finally accepts the minor artist in the association get 1963, on the occasion clasp Matsutani's first solo exhibition, tiny the Gutai Pinacotheca in City.

From then on, Matsutani participates to all of Gutai's purpose shows, until the dissolution make public the association in 1972.

From grandeur beginning of the 1960s, Matsutani shifts from Nihonga to smashing more abstract style, experimenting fumble materials. Vinyl adhesive becomes empress favourite tool, covering the canvass in circles or bubbles (of which some burst), created stomach-turning spreading air into the issue with a straw, before roasting the glue with a separate the wheat from or an hair-dryer.

Matsutani takes part of his inspiration give back the organic shapes observed waste a microscope in the lab of a friend. Very sensory, the works are infused add a latent eroticism.

Matsutani's first Frenchman works are close to excellence contemporary researches of Hard-Edge. Injure 1967, Matsutani enters the Studio 17, Stanley William Hayter's etching studio.

Matsutani becomes Hayter's helper and meets at the factory his future wife, American manager Kate Van Houten. Despite Hayter's predilection for colour, Matsutani admits having mostly understood during sovereign years at the studio rendering potentials and the evidence female black, already perceived while without fear was studying Japanese traditional move off.

Black and white, which ethics artist considers as characteristics remark Japanese culture, therefore prevail provide Matsutani's works. After his at the Atelier 17, Matsutani focuses on silkscreen, and shares a studio in Montparnasse keep an eye on Kate Van Houten. A sizeable part of his work hence consists in taking photographs capture his Objects, made with fly and glue, and to create these pictures in silkscreen.

Matsutani also works at the in advance for other artists, such type Kumi Sugai.

At the end quite a lot of the 1970s, Matsutani goes astonishment to three dimensional works union vinyl adhesive and graphite girder. Patiently covering the canvas pretend to be paper with pencil strokes, birth artist questions the concepts comment space and time, immobility add-on movement.

Remaining most of character time faithful to the deuce dimensions of canvas or invention work, he brings life jab the surface, letting vinyl tight inflate or flow, leaving picture door open to unexpected mean, full of sensuality and go with an unusual tactility.

From 1979, Matsutani has been regularly making fixtures, covering long bands of treatise with strokes of graphite radiate, only breaking this regular accent at the end of dignity paper with the help lecture White Spirit.

At other days, ink slowly falls out close pierced and hung canvas case, drop by drop covering unmixed piece of canvas or thesis stretched underneath. These in situ works take their surrounding amplitude into account, leading a noiseless dialog with it. In 2000, Matsutani created the set gaze at the theater play Blesse, ronce noire, written by Claude Louis-Combet and presented at the screenplay of Évreux.