Shoko Masunaga 益永梢子

2018 “ Daily Routine ” クリテリオム93 益永梢子展 水戸芸術館現代美術ギャラリー第9室

企画 : 井関悠(水戸芸術館現代美術センター学芸員)
Organized by: Mito Arts Foundation
Curated by: Yu Iseki (Curator, Contemporary Art Center, Art Tower Mito)
photo : Masumi Kawamura

Criterium is a series of exhibitions at Contemporary Art Center, Art Tower Mito focusing on new works by young artists. Every Criterium exhibition is formed jointly by the artist and the curator. Through her work that reveals the traces of everyday behavior and ideas, the artist Shoko Masunaga explores the relationship between painting and space, and the possibilities of painting. She focuses on the two- and three-dimensional nature of painting, employing not only paper and canvas as painting support but also tiles and folded canvases in order to create work that shuttles between the two. This exhibition features a series of Masunaga’s new paintings specially presented as an installation for the Criterium.

web版美術手帖 2018.4.27
眼と手が複合する絵画。沢山遼が見た、益永梢子「Daily Routine」展

2017 ” VOCA 展(The vision of contemporary art)” 上野の森美術館

(Even Our Tiny Maps Are Stuck onto the Growing Ivy)

アクリル、ダーマト、カンヴァス、アクリル ボックス  木製パネル 65×39×5cm が6枚
(Acrylic and Dermatograph (grease pencil) on canvas, acrylic box, wooden panel)


The title of this set of six works in inspired by Unsere Stadtchen light nicht etwa an der Grenze, a novel by Franz Kafka.Fragments of canvases colored with a float touch are folded or rolled up and stuffed into acrylic boxes. These structures may beseen through, with the surface of the acrylic box the viewer is facing as one layer, like a kind of picture. While regarding painting as an exclusive genre in art within her mind, Masunaga Shoko continues producing works in order to reveal, the manifold principles required by different formats such as painting, sculpture, photography, or installation. From2011, she has, for example,emphasized materiality and planarity by cuttingout fragments of canvases. By leading the viewer’os eyes to the side or back of the canvas, she encourages the viewer to reconsider the conditions of a painting. Alternatively, in another series of pain- tings she has been working on from 2000, the number of colors to be appliedto the canvas, the order in which the paint will be applied, and the order in which masking tape will be applied or removed are decidedby the artist herself before she starts producing the work. Once the rules are fixed, in a sense, the work is automatically produced according to an algorithm. In other words, what Masunaga place emphasis on is the establish- ment of rules in producing a work, that is, the decision itselfthat stipulates the conditions of a painting or art.
Yoneda Naoki
curater, The National Art Center, Tokyo

2016 「ルラン タット パダン パダン」“RURAN-DATT-PADAN-PADAN” gallery yolcha

写真は物質を都合良く捉えることができます。写真を撮るという過程を、彫刻でいう「切る、彫る」 という手技と同様の制作手順として考えてみたいと思いました。

I take pictures of the sculpture that I created from various angles, and then I will create another sculpture using these photographs.

It’s convenient to picture the substances. In my opinion, I think the process of “taking” pictures could be considered as the techniques such as “carving” and “cutting” in the process of making sculpture.

However, I noticed the photographs I cut off are in a status contains the angles that are subjected to wall. Therefore, I assume that when making a three-dimensional object, one should consider the comprehension of a wall. Accordingly, the difference of perspectives in term of seeing an object between a sculptor and a painter is mentioned above.

2016 ロームシアター京都 蔦屋書店内(常設)
Parmanent in public facilities
ROHM Theater Kyoto, Kyoto

2016 「Platform」 LOOP HOLE

platformの語源はflat formで「平らな台」のことを指す。地面より一段高くなった場所というところである。電車のホームの他に演壇、演台、舞台、という意味でも使用する。



The origin of the word platform is “flat form”, which means a place that is one-step higher than the ground. In addition to the platform in a train station, the word also stands for rostrum and stage.

When an artist installs artworks, she/he would use a spirit level to make sure whether a surface is horizontal or not. However, not always the place where she/he stands is horizontal. Having no choices but to find the level of the place relying on the eyes by oneself.

For me, to publish my work is like speaking in a loud voice. There is no platform prepared for me. Despite the wobbling ground, I try to stand.

2015 「ポストにこれが届いていた」IONIO&ETNA 狩野岳朗 鈴木いづみ 益永梢子

2015 「Abstract Butter at HAGISO」HAGI ART (HAGISO)

2015 グループ展「絵画をつくる方法」”means of making painting” 児玉画廊(東京)


Before creating an artwork, I decided the width of the nail to hang the artwork to be 40cm first. 40cm is optional.
Though there are eyelets attached on canvas, where each eyelet located is not always matching the width of 40cm. Therefore, sometimes it may swag or does not reach the nail.
In addition to that, since it’s possible to change the artwork in this space, which means the object/artwork is transformable.
The nail is the first element to determine the form of an artwork.

2015 ワークショップ「朝食の晩餐」blanclass


2015 「三つの机のあるところ」 ART Center Ongoing 秋本将人 臼井拓朗 益永梢子

2014 グループ展「複々線」

2014 「メディウムの条件」 ART CRITIQUE no.4刊行記念 HAGI ART(HAGISO)

2013 「Line / Color」 西山功一企画 ART TRACE GALLERY


The line of “trace”.
I think the line of “trace” is what between the organic line with physicality and the inorganic line drawn by a ruler.
I aim to trace the form of coloring(paint). The feeling is something compelled in conscious while bearing the sense of physicality. So to speak, I attempt to draw the line that is guided by colors, which is contrary to the line leads the colors.

2013 「引込線2013」 旧所沢市立第2学校給食センター

2013 「七並べの途中」 美術手帖4月号 p157-160

2013 「in the dish」 瓜生祐子、益永梢子 成安造形大学内 ギャラリーキューブ

2012 「Abstract Butter」 Nidi Gallery

2012 「symphony」 gallery Face to Face

2011 「無花果の花」 gallery yolcha