ON THE THRESHOLD II, Durham University

On the Threshold II
The Oriental Museum

Masakatsu Kondo was born in 1962 Nagoya, Japan. He graduated from the Slade School of Fine Art, and lives and works in London.

Kondo’s work is often a composition of impossible landscapes as artificial. Though ‘recognisably an interpretation of our own, is subtly but demonstrably out of step with observable reality.’ His work exposes the contemporary conflict to establish true authenticity in a world in which digital reproduction and enhancement are the everyday. Pitting the sublime against the mundane, Kondo constructs subtly enhanced and engineered scenery suggestive of a peculiarly modern. As a consequence, his paintings seem to exist ‘in a hinterland between the natural and the artificial, the representational and the abstract, the broadly traditional and the utterly contemporary’.

Kondo prefers his subject to be free from any metaphysical plot or idea; its delivery consists of layers of consciousness and unconsciousness. From the everyday events and phenomenon such as watching TV, reading books, listening to music, and talking to friends in an urban city life. In this abstracted conversation of inward thought, he acquires the clues to express, by finding images from photographs of contemporary media source; often of solitude mountains and vulnerable creatures who are posed. These images are deeply connected to his own sense of memory from his childhood exparience and interests. He plays around the image by drawing and then this journeys into a subject when it is re-recognised from a strong impression into a reality. But really the image is only crystallized in the daily practice of painting on the canvas.



On the Threshold II
オリエンタル美術館 ダーラム大学


近藤は絵画におけるテーマ(主題)は、あらゆる形而上学的な筋書きや思想から自由でありたいと考えている。主題は都会での生活の中で、テレビを見ること、本を読むこと、音楽を聴くこと、あるいは友人と話すことといった日常的な出来事や現象から生まれる、意識と無意識の重なり合う層から形成されていると言えるであろう。こうした抽象的で内的思考を繰り返しながら、彼は表現のカギとなるイメージを写真や映画等の現代メディアから見つけ出すことが多い 。それらはしばし野晒で孤独な山々や脆弱な生き物のイメージであるが、いつも彼自身の幼年期の経験や関心などの記憶と深く結びついている。 彼はそのイメージを元にドローイングを繰り返し、自己により強い印象を与えるひとつの現実として再認されたときに初めて絵画の主題とする。しかしこれも日々の実践、カンヴァスに描きつけるという作業において初めて結晶化されるものである。