• MATSUDA Bumpei

    CAREER1959
    Born in Toyama, JAPAN
    1985
    Graduated from of Musashino Art University
    1989
    Graduated from National Art University of Munich, GERMANY

    PERSONAL EXHIBITIONS:
    2004
    Gallery Now, Toyama (’01/ ’92/ ’90)
    2001
    Kaneko Art Gallery, Tokyo (’00)
    1996
    Gallery An Adan, Ibaraki
    1994
    Konishi Gallery, Kyoto (’92)
    1998
    Gallery Moc, GERMANY

    SELECTED GROUP EXHIBITIONS:
    2003
    The 5th Exhibition of Amabiki Village and Sculpture. Yamato, Ibaraki (’01/ ’99/ ’97-’98)
    The Sculpture2003. Toyama
    1995
    The Selected Exhibition of North Japan. Toyama
    1991
    The Art of Toyama ’91. The Museum of Modern Art Toyama, Toyama
    1990
    The Space Art Toyama. Toyama
    1988
    The Academy Art Festival. GERMANY

    SYMPOSIUMS:
    1998
    Artists’ Camp in Kasama. Ibaraki (’97/ ’96/ ’95/ ’94)
    1991
    Georgia International Sculpture Camp. GEORGIA
    1989
    India-Japan Sculptor’s Camp. Vadodara, INDIA
    1987
    Kuroshima International Symposium. Nagasaki

  • The wall

    White Granite
    400×400×250 (h)cm

  • The wall

    White Granite
    400×400×250 (h)cm

  • The Way

    White granite

    400×57×23 (h)cm

  • erpendicular and oblique

    Black granite

    45×30×350 (h)cm

  • The walls in the six directions

    Black granite

    117×110×185 (h)cm

  • The full emptiness

    Granite

    I 80×132×172 (h)cm
    II 58×145×215 (h)cm
    III 79×86×127 (h)cm

    The title is the distillation of what I was trying to express. “Full” and “Emptiness” are opposites, but at the same time, they can be said to be the same, depending on where I set my consciousness.
    The position seen from without, and the position seen from within, are reflected as one and the same in a heart that has ceased to feel inside or outside.

  • The void

    White granite

    90×120×170 (h)cm

    “Hazama” commonly means a narrow space between one thing and another. In contrast to “hazama” as a spatial concept, cutting away a single piece of stone as far as possible can leave a “hazama” of thin mass that separates one space from another. If you think about the spatial “hazama” and the other that is solid, you notice that they are one and the same when taken to the extreme.

  • Hyousou to Kyoukai

    White granite

    92×96×132 cm
    3150 kg

  • Shimerike no aru mono

    White granite

    350×350×20 cm
    220×80×45 cm

    I planted moss in the holes that were originally made to split the white marble. Moss uses the dew for nutrition to grow. The blocks of stone, laid flat, represent droplets of water from the dew. Things with tangible form can be seen, and those without form cannot, but the dew belongs to neither group, and I took that as my theme.

  • Binding

    Black granite

    110×120×180 cm
    6000 kg

    If the surface is the place on the edge between existence and non-existence, which distinguishes object from space, an untouched stone can be seen as comprising superimposed surfaces, and depending on how you look at it, the surface is the moment between existence and nothingness. When the stone is placed in a space, we can assume it exists when we look at its mass, but if we suppose that the stone is a space, we can imagine that the instantaneous space in which the stone and the outside touch is like the edge of space. Maybe it is not possible to talk about the space and objective reality determined by human knowledge as separated things.

  • Neutral

    White granite

    120×120×120 cm
    5000 kg