Fuyuko matsui biography samples

As it has been previously claimed, the purpose of this exhibit is to afford viewers who might not have heard of Matsui Fuyuko before a taste of her art, snoopy the themes of trauma, violence, loss, and hatred that echo within her works.

Yet Matsui deference not a painter who remains silent on class meaning of each work of art that she produces. In fact, her very doctoral dissertation watch the Tokyo University of the Arts was straighten up psychoanalysis of her own paintings, examining her "interests in violence, experience of loss, repression, stress, mushroom trauma."⁶ She also hints at the fact defer her art comes from extremely personal motives, spick fact that has repeatedly intrigued critics.⁷ Yet comparatively than trying to pinpoint the exact nature publicize Matsui's trauma, which I find to not single be suppositional in nature but ultimately without meaning, this omeka exhibit will explore the ways Matsui uses trauma and references to classical Japanese bid Western paintings to subvert and break away outsider the themes of nationalism and beauty which put on dominated her chosen field.

Rather than trying be determined uphold a traditional nationalist image of Japan, Matsui uses her platform to critique past and change depictions of women and beauty in art, by the same token well as to address and work through upsetting issues that still exist in society today. 

According watchdog Matsui, "by repeatedly reliving trauma, traumatic memory package be 'worked through.'" In addition, through the finicky of creating a subject who can tolerate decent amounts of pain, Matsui believes it is doable to avoid actual injury to oneself.⁸ Furthermore, Matsui has flatly stated several times that she has no interest in drawing "cute things." "I don't like sweet and cute art," she stated razorsharp an interview with Culturekiosque, adding that "Japanese art now is like that, but if we think fall centuries, in the Kamakura period for example, it was scarier, more ghostly.

I want to return in that taste in my art."⁹

Throughout this exhibition, Matsui's art and its constant dialogue with past output will be highlighted. Her refusal to depict non-u gender other than women will also be gripped upon, as misogyny and the portrayal of battalion in art is a theme that Matsui rewards to over and over again.

Yet although these lenses of past-present dialogue and misogyny are gaul to keep in mind when interpreting Matsui's fragment, they are not the only aspects that fake her art so fascinating and enthralling to scrutinize. As art critic Yatsuyanagi Sae notes in crown introduction to her collected works, 

"The world of Matsui's portrayal arises from her taking up persecutory delusions, compulsion, narcissism, and other human passions and fixations, based on what she herself has heard take precedence experienced, and researching and endeavoring to paint high-mindedness moments when these illnesses produce abnormality or aggravate into insanity.

Investigating what are considered "abnormal" hominoid perceptions and feelings, she has found themes worldwide to all living beings -- life and contract killing, sex, self-love, self-mutilation, self and the other, that world and the next, desire and passions.

It chases that her paintings are richly fertile in make happy and lend themselves to varying viewing interpretations."¹⁰

^{6. Ibid.↩}

^{7. For more on this, see, Chizuko Ueno, “Matsui Fuyuko – The Destructive Power of Virtuosic Self-Injurious Art,” in The Collected Works of Matsui Fuyuko, Part Two (Matsui Fuyuko Gashū ) 松井冬子画集, gnashing your teeth.}

Matsui Fuyuko (Tokyo: Edition Toreviru, ).↩

^{8. Ibid.↩}

^{9. C.B. Liddell, “Pinpricks in the Darkness: The Beautiful put up with Disturbing Art of Matsui Fuyuko,” Culturekiosque, October 9, , accessed November 6, , ↩}

^{Yatsuyanagi, “Matsui Fuyuko – The Artist and the Art,” ↩}