桑原正彦 “ Summer Snow ” 展は、終了いたしました。東京など遠方からの方をはじめ、お越し頂いた皆様、本当に有難うございました。




 Masahiko Kuwahara " Summer Snow " exhibition has ended. Thank you very much to everyone who came to the exhibition, including

   those who came from as far away as Tokyo. We are grateful for the positive response to Kuwahara’s works. If possible, we would like

   to hold an exhibition once a year with a specific theme. We look forward to working with you in the future.




 桑原正彦 1959-2021 " Summer Snow"

 Masahiko Kuwahara 1959-2021 " Summer Snow"


 8. 20 ( Sat. ) ー 9. 10 ( Sat. )


 開廊時間  13:00 〜 19:00







桑原正彦は1959年に東京で生まれました。様々な職業を経る中で、ほぼ独学で絵画の制作を始めた様です。なので美術大学の経歴はありません。描きたいものと、どの様に描く・表現するかを明確に見据え、画家として生きて行く事を決めた男なのです。桑原の絵画に出てくる稚拙でポップな図像は、その表面的な雰囲気とは正反対のシリアスで社会的な桑原の思考の賜物なのです。それは高度成長期の日本における国土の開発と大量生産・大量消費がもたらす繁栄と歓喜、それと表裏一体となった公害問題や環境破壊に見舞われた日本の姿であり、桑原はそのことを現代日本の「風景画」として描いていたのです。桑原が描く一見可愛い女性や生き物は、現代日本が生み出した諸問題の、いわばアバターと言えるものなのです。また稚拙な描き方は、美術大学、美術教育を受けていない彼があえて実行した、素人っぽさ・自由さの表現であり、桑原の絵画の魅力と言えます。彼は生涯その表現方法を洗練させ続けたのです。そんな桑原は、1995年のAKI-EX ギャラリーでの「石油化学の夢」で画家としての本格的なスタートを切リました。そしてその翌年、伝説となった平塚市美術館の「TOKYO POP」展に選ばれることになります。当画廊の桑原との出会いも「石油化学の夢」展を観たことから始まりました。

今回の「Summer Snow」展は、生前最後の当画廊での個展「dreamy star pochette」が企画の始まりとなります。「dreamy star pochette」で並べられたモノトーンの白い作品達、それはまさしく彼、桑原正彦が最後に見た風景ではないのか、その白い世界をもう一度展示することで桑原の創作の意味を再考する一歩としたいと考えました。真夏に広がるモノトーンの絵画たち、それはまさに「Summer  Snow」、真夏に降り積もる雪の如く静謐で夢のようでありながら、強靭で純粋な桑原の意志の塊としてみてゆきたいと思っています。生前桑原は申しておりました。社会的な問題を根底にして描いてはいるが、善悪を声高に表明するのではないのだと。それをしたいのであればアクティビストとして行動した方が良いのだと。桑原個人は、自らの目と思考で確信している同時進行の日本の姿を、画家として、ただ描き残して行きたいのだと。桑原は日本の洋画家も含めた美術の歴史の中で、一人の画家としていることを夢見ていたのです。残念ですがこの度の個展では、「dreamy star pochette」展の100%の再現は叶いませんので、過去の作品からピックアップし展示構成いたします。今一度皆様には、桑原の一貫した世界観をご覧いただきたいと思っております。是非ともよろしくお願い致します。




Gallery Zero is pleased to present an exhibition by Masahiko Kuwahara,“ Summer Snow ” who passed away last year, for three weeks from Saturday, August 20 — Saturday, September 27.

Masahiko Kuwahara was born in Tokyo in 1959. He seems to have started painting almost entirely on his own, while working in various occupations. He is a man who has decided to live his life as a painter with a clear vision of what he wants to paint and how he wants to paint and express it. The poor, pop-like iconography in Kuwahara's paintings is the result of Kuwahara's serious, social thinking, which is the opposite of the superficial atmosphere of his work. Kuwahara's "landscape paintings" of contemporary Japan depict the prosperity and joy brought about by the development of the country and mass production and mass consumption during Japan's period of rapid economic growth, as well as the pollution problems and environmental destruction that were inextricably linked to this prosperity and joy. The seemingly cute women and creatures that Kuwahara depicts are avatars, so to speak, of the various problems that modern Japan has created. Kuwahara's poor painting style is an expression of his amateurishness and freedom, which he dared to express without having attended an art college or received an art education, and can be said to be the charm of his paintings. He continued to refine his mode of expression throughout his life. Kuwahara made a full-fledged start as a painter with "Petrochemical Dreams" at AKI-EX Gallery in 1995. The following year, he was selected for the legendary "TOKYO POP" exhibition at the Hiratsuka Museum of Art. Our first encounter with Kuwahara also began when we saw the "Petrochemical Dreams" exhibition.


This "Summer Snow" exhibition is a re-creation of "dreamy star pochette," his last solo exhibition at the gallery before his death. The monotone white works displayed at "dreamy star pochette," the last solo exhibition at the gallery before his death, were indeed the last view that Masahiko Kuwahara saw. By exhibiting this white world once again, we hoped to take a step forward in reconsidering the meaning of Kuwahara's creations. The monotone paintings spreading in midsummer are exactly like "Summer Snow," as tranquil and dreamlike as the snow falling in midsummer, but I would like to see them as a mass of Kuwahara's strong and pure will. Before his death, Kuwahara said. He said that although he depicted social issues as the basis of his work, he did not express right and wrong vociferously. As an artist, Kuwahara simply wants to leave behind a picture of Japan as it is today, which he is convinced of through his own eyes and thoughts. Kuwahara dreamed of being a painter in the history of art, including Western-style painters in Japan. Unfortunately, we will not be able to reproduce the "dreamy star pochette" exhibition in its entirety in this solo exhibition, so we have selected works from the past to be exhibited. Once again, we would like to invite you all to view Kuwahara's consistent worldview. 

We are looking forward to welcoming you!








 坂井淑恵 / Yoshie SAKAI

 新作絵画展「水遊び」:New Paintings “ play with water ”


 7月2日 ( 土 )  ー  23日 ( 土 )


 開廊時間 ( open hours )  :  13:00  ー  19:00

 休廊日 ( closed on )  :  火曜日 ( Tue. )・水曜日 ( Wed. )・木曜日 ( Thurs. )









それから20年以上の歳月が過ぎましたが、坂井はそのクリエイションの質を維持し続けながら今日に至っています。では坂井の絵画におけるクリエイションとは?それは、人間が抱く様々な感情や思考をシンプルにキャンバスに定着させることであると思っています。欧米のニューペインティングおいては暴力・死・夢、それに歴史や神話といった寓意、いわば大きな物語をモチーフとしていました。しかし、坂井の絵画においてはあくまでも日常における普通の人々の感情や仕草などがイメージの源泉であることが特徴なのです。クローズアップされたシンプルな顔の表情が、不安や戸惑いといった感情を見事に私たちに伝えてくれます。また一見抽象的な風景画に見える作品いおいても、水溜りや雲に顔が描かれていたりするのです。風景画ように見える作品もまた人間の何某かの感情を表現しているのです。坂井の絵画における特徴的なモチーフがもう一つあります。頻繁に描かれている水が、重要な意味を担っています。それが意味するものは、わたしたちを取り巻く社会なのでしょう。私たちは時に溺れそうになりながらも、もがきながら泳いでゆく=生きてゆく、ということを暗示しているのでしょう。また前回の個展のタイトル「Mr. Head」でも察せられるよう、落語「頭山」などの文芸作品からもクリエイションの糧を得ています。坂井は様々なもの・事から貪欲に情報収集しながら、それらのデータを絞り込みシンプルな表現にまとめてみせます。それを可能にするのは、日本の短歌の感覚が坂井にもあるからなのでしょう。その為坂井の絵画はわかりやすさと同時に読み解くような深みも持ち合わせています。次回展の絵画たちも、皆様には十分ご納得頂ける内容になることでしょう!





Yoshie Sakai's career as a painter began in the mid 1990s. This was around the time when the influence of New Painting (New Expressionism), an art movement that emerged simultaneously around the world in the early 1980s, was finally reaching Japan. However, in Japan, unlike overseas, I feel that it is better to view this as a revival of two-dimensional works, including paintings. Although this is only an analysis and perception from the Kansai region, in the early 1990s, Yasumasa Morimura's photographic works that comically incorporated Western art history and Chie Matsui's installation-like works that seemed to express the fantasy of a young girl were the first to attract attention. Later, while Takashi Murakami, Yoshitomo Nara, and Kodai Nakahara were attracting attention, Reiko Ikemura, from a generation slightly before them, was beginning to attract attention as well. Yoshie Sakai is the next generation after Murakami and Nara, and falls in an era when painters of the era from Kyoto City University of Arts were welcomed with great impact for their free ideas and styles. In particular, Yoshie Sakai attracted a great deal of attention for her strong expressionistic drawing style, simple composition, and vivid colors that create a physical and comical image.


More than 20 years have passed since then, and Sakai continues to maintain the quality of its creations to this day. So what does Sakai mean by creation in his paintings? I believe it is to simply fix the various emotions and thoughts that people have on the canvas. In the West, new paintings were based on violence, death, dreams, and allegories such as history and myths, or in other words, big stories. However, Sakai's paintings are characterized by the fact that the source of his images is the emotions and gestures of ordinary people in their daily lives. The close-up, simple facial expressions beautifully convey to us the emotions of anxiety and confusion. Even in works that at first glance appear to be abstract landscapes, there are faces painted in puddles of water or clouds. Works that look like landscapes also express some kind of human emotion. There is another characteristic motif in Sakai's paintings. Water, which is frequently depicted, plays an important role. What it means is the society that surrounds us. It may imply that we sometimes feel like we are drowning, but we struggle to swim = to live. As the title of his last solo exhibition, "Mr. Head," suggests, he also draws inspiration from literary works such as the rakugo story “ Mt. Head ”. Sakai greedily gathers information from a variety of sources, and then narrows down the data and summarizes it into a simple expression. What makes this possible is that Sakai has the same sense of Japanese tanka poetry. For this reason, Sakai's paintings are easy to understand and at the same time have a depth that makes them easy to read. The paintings in the next exhibition will be more than enough to convince you all!

We are looking forward to welcoming you!






20多年后,坂井继续保持其创作的质量,直到今天。那么,坂井在他的画中所说的创造是什么意思?我相信是为了简单地把人们的各种情绪和想法固定在画布上。在西方,新的绘画以暴力、死亡、梦境以及历史和神话等寓言为基础,或者换句话说,是大故事。然而,酒井画作的特点是,他的图像来源是普通人在日常生活中的情感和姿态。特写的、简单的面部表情向我们漂亮地传达了焦虑和困惑的情绪。即使在那些乍一看是抽象风景的作品中,也有在水坑中或云中画的脸。看起来像风景的作品也表达了一些人类的情感。在坂井的画中还有一个特征性的主题。 经常被描绘的水发挥了重要作用。它可能意味着的是我们周围的社会。这可能意味着我们有时会感觉到自己被淹没,但我们挣扎着要游泳=生活。还有,上一次展览的标题"头先生 所暗示的那样,他也从文学作品中汲取灵感,如落语故事《头山》。坂井贪婪地从各种事物和事务中收集信息,同时缩小这些数据的范围,并将其总结为简单的表达。使之成为可能的是,坂井也有一种日本唐卡诗的感觉。因此,坂井的画易于理解,同时又有一种深度,使其易于阅读和理解。下一次展览中的画作将足以说服你们所有人!








 2022, 3. 7 ( 月/Mon. ) ー 26 ( 土/Sat. )


 横野明日香 / Asuka YOKONO


 " 花と灯台 / Flowers and Lighthouses "














Message from Asuka Yokono


The paintings in this exhibition will be a series of small size paintings among my works. In the past I have often painted on large canvases where I could experience being enveloped by the paint without paying much attention to the edges of the canvas. The paintings in this exhibition, however, use small canvases and dare to show the edges of the canvases. Nevertheless, in the flower paintings, I do not control the momentum of the brush to express the energy of the flower trying to open, so the studio is splattered with paint. Even though the size of the painting may be small, I want the image to expand to the space outside the canvas. The direction of the light and the composition of the lighthouse paintings were inspired by the shapes of the original canvases. These paintings were created because of the shape of the canvas. This exhibition is an attempt to create a painting space different from that of large paintings by exhibiting several small paintings in the same space, which emanate energy in various directions. 













Asuka Yokono is a young painter known for her powerful style of painting with vigorous strokes on canvas. Her speedy strokes of straight and curved lines, landscapes and still lifes composed in simple forms give us a sense of freshness. Yokono says she wants to paint the overwhelming feeling and presence of seeing a huge structure like a dam, and the visual experience of this on a large canvas. Yokono may be painting a painting that is real to her by translating her actual visual experience into the act and movement of strokes. American Abstract Expressionist artists experimented in various ways to incorporate movement into their paintings. On large paintings, such as Pollock's Dripping or the rough strokes typified by de Kooning's Woman, they let the paint settle on the canvas as traces of physical movement. These works beautifully expressed the vigor and chaotic power of New York City and the United States at that time. We expect Yokono to create new paintings with the dynamism of movement that accentuates her strokes.


However, this solo exhibition is a new experiment, featuring only small paintings. During the last two years of the Corona Disaster, she has also undergone a major life change: childbirth and childcare. Her paintings of small lighthouses and flowers, painted under various constraints, seem to have nurtured in her a different perspective and way of thinking than her larger paintings. The theme of this year's exhibition, "Flowers and Lighthouses," is about hopes, dreams, and the spread of life force. We hope you will fully enjoy Yokono's different world of paintings this time. And now she has started working on a large painting again for this summer's Aichi Triennale. We are looking forward to welcoming you. 









 2021, 11. 27日 ( 土/Sat. ) ー 12. 18 ( 土/Sat. )


 高橋友 / Yuu TAKAHASHI


 " Impermanence "




GALLERY ZEROでは、20211127日土曜日より1218日土曜日までの3週間の日程で、高橋友の新作個展「Impermanence」を開催致します。





高橋友の3年ぶりの個展「 Impermanence 」をよろしくお願い致します。



Gallery Zero is pleased to present an exhibition by Yuu Takahashi, “ Impermanence ” from Saturday, Nov. 27 – Saturday, Dec. 18. This will be Takahashi’s first solo exhibition in three years with the gallery and will be composed of colorfully paintings.

Her career began with paintings that boldly brought in the coloring books and girls' manga that she was familiar with as a girl. These paintings were made up of colored surfaces divided by raised black enamel lines. Paintings depicting the main characters of girls' manga had elements of both figurative and abstract painting. Then, in 2012, she started a new series in which she superimposed a map of the land associated with a person she respected onto the image of that person. A map was placed in white over a screen with only silhouettes of people and motifs related to the main character in the background. The white-out map gave a sense of discomfort to the screen, and the colorful colors had a great visual impact.

However, the spread of COVID-19 must have affected her life and her state of mind. She says. In each age and in each life, there are good things and bad things. But, that situation will not last forever. Under these extraordinary circumstances, I am trying to devise my own way to create a work of art, and I hope that those who see it will feel the warmth that will lead to tomorrow. In order to convey this feeling, Yuu Takahashi started to draw elements of girls’ manga, her old motif, again from this exhibition.

She said that she was convinced that this motif was the most honest way to express her current feelings. However, the gap of ten years is not exactly the same as in the past. What I can say is that from the very beginning, Takahashi's focus has been on making painting as enjoyable as possible for the audience, rather than on social contradictions or conceptual elements.

Please look forward to Yuu Takahashi's first solo exhibition "Impermanence" in three years !







 2021, 10. 23 ( 土/Sat. ) ー 11. 13 ( 土/Sat. )    

 西太志 / Taishi NISHI


 新しい国:New Country


 open : 13:00 - 19:00


 closed : 火曜・水曜・木曜 ( Tue. Wed. and Thur. )




GALLERY ZEROでは、1023日土曜日より1113日土曜日までの3週間の日程で、西太志個展「新しい国」を開催致します。



Gallery Zero is pleased to present an exhibition by Taishi Nishi, “ New Country ” from Saturday, Oct. 23 – Saturday, Nov. 13. This is Nishi 3rd solo exhibition with the gallery and will be composed of unique paintings and ceramic sculptures.


Nishi has been painting strong narrative quality, as if they were taken from a movie. These paintings have a sense of danger that hints at a boy’s dreams and violence, but they also give us a sense of nostalgia. Nishi’s paintings, which are mainly monochrome, use many strokes and have a strong drawing quality. The strokes that fill Nishi’s paintings lead to the improvisational nature of his drawings, helping him to express his emotions in a straightforward manner.


Nishi had been working steadily, but the onslaught of infectious diseases since last year affected his state of mind. The title of this exhibition, “ New Country ”, may be a new world after experiencing the spread of infectious diseases. Influenced by the works of Francisco de Goya, who cynically and unapologetically expressed the turbulent times in Spain, how will Nishi express the new world ? Please watch with anticipation for the future of the “ New Country ” he is creating.




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