Mami Kosemura is a contemporary artist who uses photography and animation to explore the confluence of painting, video and photography, referring to classical European motifs and traditional subjects such as Japanese painting.
Her early works revolved focused on video works that could be described as "moving still life", which used the stop-motion technique to record still life on a table over a long period of time. The act of reproducing the pseudo-space depicted in a two-dimensional painting in a three-dimensional real space and continuously watching its transformation is a kind of replication of a painting using a camera.
Afterwards, she developed the experience she gained through those early experiments into a video installation and then photographic work. Then, she has developed her work to reflect her own perspective on the question, "What is painting?” and “What is seeing itself?”
In recent years, she has produced a series of concise and perceptive works with a greater variety of time expression and form, including video works using super-slow-motion photography, photographic works that compress long duration phenomena into a single photograph, picture scroll-type photographs and a series of sequential photographs.
Her work exposes the fragility of human assumptions and social conceptions by vividly recreating the false and idealized pictorial world of classical painting. Furthermore, the dynamics of disappearance reflect an aesthetic sense of impermanence and imperfection.
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Mami Kosemura was born in 1975 in Kanagawa. In 2005, she graduated from the Tokyo National University of the Arts with a D.A. in painting. In addition to solo exhibition at Hara Museum of Contemporary Art in Japan, 2018, she has participated in many group exhibitions in Japan and abroad. In Japan, these include the MOT Annual 2004 (Museum of Contemporary Art, Tokyo), NIHONGA Painting (Yokohama Museum of Art, 2006) and SELF and OTHER: Portrait from Asia and Europe (National Museum of Art, Osaka, Museum of Modern Art, Kamakura & Hayama, 2009). Overseas exhibitions include Projected Realities: Video Art from East Asia (Asia Society Museum, NY, 2006), East of Eden (The Freer and the Arthur M. Sackler Gallery, Washington DC, 2007), International Incheon Women Artists’ Biennale (Korea, 2009), Mind as Passion (Taipei Fine Art Museum, 2009), Now Japan (Kunsthal KAdE, Netherlands, 2013), and Kuandu Biennale 2014 (Taipei). Kosemura has been extending the range of her activities to include, for example, a collaboration with composers at Carnegie Hall for a 150th anniversary event in New York in 2017.
Major awards received by the artist include Nomura Award from the Nomura Arts and Culture Foundation (2004) and the 26nd Gotoh Cultural Award of the Gotoh Memorial Foundation (2015).
Kosemura’s art is included in the collections of the Museum of Contemporary Art, Tokyo, The University Art Museum of Tokyo National University of the Arts, Gunma Museum of Art, Tatebayashi, Asia Society Museum (New York) and Kuandu Museum of Fine Arts (Taipei).
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小瀬村真美は、写真やアニメーションで、ヨーロッパの古典的なモチーフや日本画などの伝統的な題材を参考にしながら、絵画と映像、写真の合流点を探る現代美術家です。彼女の初期の作品はストップモーションの技法を用いて、長期間にわたってテーブル上の静物を記録し続けた「動く静物画」とも言うべき映像作品を中心に展開されました。2次元の絵画に描かれた擬似的な空間を3次元の現実空間に再現し、その変化を見続ける行為はカメラを使用した絵画の模写と言うべきものです。
その後はその模写をすることによって得た彼女の経験を映像インスタレーション、そして写真作品へと展開してゆき、「絵画とはなにか？」「見ることとは何か？」という問いに対しての彼女なりの視点を反映させるような作品へと展開してゆきました。
近年はスローモーション撮影を用いた映像作品や長時間の現象を一枚の写真に凝縮させた写真作品、また絵画と映像の間にあるような絵巻物型の写真作品や連番の写真作品など、作品の時間表現と構造をより多様にしながら簡潔で鋭い作品を制作しています。
古典絵画の持つ虚偽的で理想化された絵画世界を眼前に生々しく再現してみせることで、人間の思いこみや社会通念の脆さを露呈させるとともに、その消滅のダイナミクスは無常の美意識を反映させています。
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