gallery UG

1-14-11 Higashikanda Chiyoda-ku, Tokyo 101-0031, Japan

www.gallery-ug.com

 

 

Sometimes I feel alone or being different space-time. It is like clouds and smoke that change shape themselves irrelevantly from time we spend or my own space. I put those feelings into the shapes as my works. Now I put into the shape of the feelings of freedom, time and desires which are slipping away from my memories. I think this is important for me to be myself and ones to be themselves.
Kunihiko Nohara, 2020

I suppose that people are unintentionally layering their mental scenery on places and things. And I feel those places and things are empty when they are out of sight. The relevance between "image-bearing state" and "empty state" of places and objects is the axis of my creation.
Nami Okada, 2020

It doesn't mean my works are just pretty, and have no meaning. What I want to convey is not be able to express in words and sentences. It is something that cannot be expressed in letters, it's confusing and complex strange feelings. In order to correctly convey unclear sense, the vague sensation in myself, that is "invisible" must turn into "visible objects" which everyone can understand. This is what I think art is.
Takaoki Tajima, 2020

Kunihiko Nohara
Cappuccino B
2019, FRP limited edition 18, H14.5 x W12.6 x D8.2 in.
Kunihiko Nohara
Shopping
2017, Camphor wood, H16 x W13 x D8.8 in.
Kunihiko Nohara
Miso soup
2019, FRP limited edition 18, H72.6 x W24.6 x D37.6 in.
Kunihiko Nohara
Mt. Mimawashi Summer
2019, Mixed media, 31.9 x 24.8 in.
Kunihiko Nohara
Mt. Mimawashi Spring
2019, Mixed media, 31.9 x 24.8 in.
Kunihiko Nohara
Mt. Mimawashi Winter
2019, Mixed media, 31.9 x 24.8 in.
Takaoki Tajima
Squirrel Split buns into two
2019, Camphor wood, H7.6 x W4.7 x D4.7 in.
Takaoki Tajima
Rabbit
2019, Yellow cedar, H8 x W3.7 x D3.7 in.
Nami Okada
one view
2018, Lacquer, acrylic on panel, 20.9 x 16.1 in.
Nami Okada
one view
2019, Lacquer, acrylic on panel, 28.6 x 35.8 in.