Sayoko SuwabePortfolio
Edition4.5

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撮影：齋藤洋子
Photographer : Yoko Saito

6“ ジ・エターナル・ドリームタイム ”“The Eternal Dreamtime”
2017.01
繊維強化プラスチック , 油彩 , 水FRP, oil paintings, water
3000×3000×300mm

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撮影：齋藤洋子
Photographer : Yoko Saito

10“ メメントモリ ”“Mementomori”
2017.07
材木 , 石材 , 楮紙 , 油彩 , 水彩 , ビニール , 水
Wood, stone, Kozo paper, oil painting, waterpainting, vinyl, water
4000×5000×3000mm

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撮影：松尾宇人
Photographer : Ujin Matsuo

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視点 A

③④⑤

②

視点 B

①①インクジェットプリント , 4000×900×900mm②石膏 , アクリル樹脂 , 1000×200×500mm③セメント , アスファルト 900×300×400mm④ループ音声 (12:41:10 の時報 ), パラメトリックスピーカー⑤映像 , 2ʼ 31⑥窓

14“ 分節 - 09/03/2017 12:41:10”“The generating unit”
2019.01
セメント , 映像 , 2'31, 樹脂 , 石膏 , パラメトリック
スピーカー
cement, video, 2’31, loop, resin, plaster,parametric speaker
4218×4311×8024mm

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撮影：木戸龍介
Photographer : Ryusuke Kido

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“ 遺構 ”“Artificial erosion”
2019.12
大理石 , 酢酸
Marble, Vinegar, Wood
100×150×50mm

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撮影：Hyunjoo Cho, 諏訪部佐代子
Photographer : Hyunjoo Cho,Sayoko Suwabe

連作

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““It is said that this star was dominated by monkeys with no hair”"
2020.07
ガラス , 砂岩 , コンクリート
Glass, sand stone, concreteTexts of the works
Edition4.4

p.4/The eternal dreamtime
A drawing to expand the "present"that a clan of indigenous people in Australia ask

eroding over the duration of the show andmuseums to dispose of their artworks when thethe liquid makes an artificial topography.

artist passes away. This is to allow a member

In this pond, the marble continues to waitof the new generation to paint the same story.

to be eroded by the acid in 31 hours.

But if so, why does the painting exist? In thiswork, I tried to destroy my work. But I came

It will show the erosion of a marble.

The title is “the Eternal Dreamtime”. “the Eternalto realize that the painting only changed inThis system will keep flowing

Dreamtime” is the idea of the Aboriginal people

appearance, and did not disappear completely.

over the duration of the show.

in Australia. It tells us that “It is possible toThe liquid(acid) will be affected by gravity, melt

return to any moment and that time is eternal”.

the marble and make an artificial topography.

I often thought that we don’t have the tomorrowor the yesterday, today, the past, the future.

p.12/ The genarating unit

There might be only now and some memories.

A space for doubting the fixed idea

When I think so, the existence of self might beof time in contemporary society

p.20/ It is said that thisstar was dominated bymonkeys with no hair

exist in this place. If the continuity from the past

In this work I attempt to create a space that

equals self- identity, it can be said that my ego isnaturally encourages the viewer to considerPost anthropocene

only a very vague thing. I became to feel horrible.

fixed notions of time in the modern age throughWhen I stood at "the yuga gallery", the space Imodels that remind us of human scale. TheMankind

thought was originally a sterile white cube, while

stratum I made are metaphors for the limits ofland with concrete to get safe.

I drawing at this place, it turned into an organic

our understanding of the past. The model ofCenturies later, humans will become extinct

and vivid space. I aimed to leave my traces withcement stratum shows stratification. Civilization

and unnamed life forms will have begun tothis place. Somehow I steal my shaking ego

has been built on ground that has been formed

dominate this planet. Will later organisms

and assimilate with this place. That is a purefrom countless layers. The landscape seen frombe misinterpreted as this geological era?

production motive. It is a space to share with thethe window of this gallery represents just one

We, humans, imagined the past

viewer the eternal time that I was making thislayer of the present, but it is not immutable;

by analyzing the layered ground.

work. It is now one of my memory strongholds.

it is in a process of constant change. In order

An installation that imagines us theto express the notion of a layer as a concept, I

time after the Anthropocene, which

traced out the contours of the cement stratumis layered on top of our cognition.

I created using an ink jet printer. Using

Ants flock to this structure and cochlea

timestamps, the video work convey the concept

crawls. This work is soaked in a swamp andof time as a record. Without it, we cannot

is now prog ressively weathered, forming

define what time it is. We believe that time asa b i z a r r e c r e a t u r e e n v i r o n m e n t n e w l y.

in danger. Speaking to the extreme, after ourmemories are rewritten by aliens and we may

p.8/Memento mori
Performance - the death of images

has

been

filledthesomething like "Blockchain". A timely message
I washed this paper on the third day amongof time is flowing from the parametric speaker

the five days as a performance. Through themounted on the top. This room exists to question

performance of washing the drawing in thea c c e p t e dwater pool, I set up a painting existing only
three days. This is a drawing that questions
whether painting is dead. Today, the world isfull of digital images. We can copy any images
easily and we can manipulate the impression ofn o t i o n so ft i m e .

p.16/ Artificial erosion
設定された風化

works later - this is the generation that I belong
to. In such a situation, this work acts as a stageThisshows

artificial

remainsin order to consider about the loss of an actual

scattered over the world today.

object. This concept was affected by the episodeThrough this process, the marble will keep

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諏訪部佐代子
Sayoko Suwabe
sayokosuwabes.com【Statement】
私の制作は、すべて事物を解釈するモデルの構築である。
国際化していく社会において日本人の抱く質的時間の価値が変容していることに非常に興味がある。それに伴いアイデンティティが変容していくダイナミズムを見つめ、その構造を作品化している。
人間のコントロール可能な領域が日々広がりを見せ、文化が自然を凌駕しようとする中、コントロールしきれない不可逆な時間という概念を人々が文化的にどう解釈しているか。
それを理解するため、アボリジニの人々の思想のリサーチや、現代社会の構造研究を通し、今日のアーティストとして自身の理論と実作を行き来する制作をしている。

【Bio】
1995 年千葉県生まれ。2019 年東京藝術大学美術学部絵画科油画専攻卒業。在学中 2017 年に安宅賞受賞、同年個展 ” ほげほげふがふが展 ”。
2019 年にサロン・ド・プランタン賞受賞。絵画作品のほか、インスタレーションを主軸として、パフォーマンスや彫刻など幅広いメディアで問いかける。国際化していく社会において時間の概念が変容するダイナミズ
ム、またそれに伴いアイデンティティが変遷する構造をリサーチし主題としている。近年は特に現代日本における国際化の状況を国内外でリサーチし、質的時間認識の変遷を作品に組み込んでいる。
現在同大学大学院美術研究科グローバルアートプラクティス専攻在学中。

The focus of my artistic practiceis seeking the interpretation ofcontemporary phenomena throughthe construction of models. I havea strong interest in how the valueof qualitative time is changing inJapanese society due to rapid
globalization. I observe changesto identity that accompany such
trends, and create artwork that
respond to my observations. Today,
areas of the world controlled byhuman is spreading day by day,and cultures are trying to surpass
nature. Amidst such circumstances,
how can humans interpret theconcept of irreversible time,
which is beyond human control?
In order to try to answer suchquestions, I conduct research
into the world-view of Australianindigenous people and structures
w i t h i n c o n t e m p o r a r y s o c i e t y,moving back and forth between
theory and creative approaches.

Born in Chiba in 1995. Graduatedfrom Oil painting BFA program,
Tokyo University of the Arts in
2019. She won “Ataka award”
in 2017 and held solo exhibition“hogehogefugafuga”. She won“Salon de Plantin Prize” in theGraduation exhibition 2019.
She mainly create installation
works and also broad media suchas performance and sculpture.
The focus of her artistic practice
is interpretation of contemporary
phenomena/preconceptions
through the construction ofmodels. Recent theme of her works
are the globalization of Japanesemodern society. She conducts
research on the structure of thechanges of the fixed notions oftime in the situation of globalizationand create artwork that respond toher observations.
She recently studies in the Global
Art Practice MFA program at TUA.

【CV】
2015.04
Enter to Bachelor of Fine Art, Oilpainting Major, Department ofPainting,Tokyo University of the Arts, Japan.
2016.09 “To raise your voice” (Iwas in charge of planning directorof a show in Ueno shopping street)2017.04
Solo exhibition“hogehogefugafuga”
2017.07
Ataka Award Exhibition (at Rittai
Kobo in TUA)
2017.10
Traveling Scholorship Programexhibition (at Chinretsukan in TUA)
1000 days to go! (at TOKYO SKYTREE)
2017.11 Yürüyen Anílar (walkingmemories) (at yuga gallery in TUA)
2019.11 Horizont and Tableau:
Practical Archeology at Natsuyuki
Nakanishi Former Atelier
2021.02 NULLNULL STUDIO( NULLNULL STUDIO )Awards2017.04 Ataka Award (anoutstanding student award)
2019.03 Salon de Printemps award(Second award in graduatingstudents)

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