Japanese Art 現代絵画 Japanese artist

Nameless God 　（名前の無い神）

Burnt Forest　（焼けた森）

Nameless God （ 名前の無い神）

Ash falling to the earth　（灰の降る地球）

Landscape in Origin

Brightness on Earth　（地球の光）

The fresh grass

Regenerative force

Regenerative force

Land (divided land )

Land as its own

No title

Message from Salima to Kazuko

Kazuko Tajima, artist and poet, is a traveler who covers physical distans as well as

understanding artistic odysseys. During her time in Pakistan she has recorded her

reactions in diverse ways. The works have encompassed passionate enquiries

into metaphysical questions alongside poetic documentation of surfaces, places

and people.

There has been an interest in narrative, both the inner and outer.

In this most recent phase, she combines the essence of living together with an

exploration into organic materials and their behavior.

Those works are in fulfillment of an old desire of the artist to prove the nation

of the landscape. Yet that investigation is not to do with the picture or the

replica of the landscape, but more to do with experiencing it.

Perhaps the quintessence of the landscape lies in the basic idea rather than

its outer form or appearance.

Kazuko tajima is interested in defining the real world in terms of her own vision,

and in her prefrred medium. After having investigated an apparent way of recording

objects and ideas in paint and phptographically, she is now consciously

adopting a more distilled, austere vocabulary. The new works also incorporate

her vast experience in paper-making. in a sence, these work are a synthesis

in both from and content as they draw together Kazuko Tajima`s kaleidoscopic

explorations and bring them into focus. The landscape therefore, becomes

a mtaphor for something deeper and very personal. The use of soil and wood

meticulously sifted, ground,cooked, and mixed with glue gives one a sense

of the immediacyof nature and its wholeness. The materials are not only

suggestive of the concept of nature,they actually originate from it.

The materiald,strong in their organic prwsence, can also crumble to become,

fragile and speak of inheriting vulnerability of all man-made objects , susceptible

to destruction.

Kazuko interprets nature not through its profusion of color but throuth its

substance. The absence of color is hardly felt as one is drawn to the dense,

tactile surface and its tonal contrast. The light and darks in nature are

represented as them-selves; one makes one`s own associations between

earth and sky, day and night. The artist and viewer are freed from the search

for the representational and contemplates the shifted imagery to have both

time and distance.

In this exhibition, Kazuko has also included work more particular to

Pakistan`s human landscape. She looks at woomen, veiled, yet not invisible.

She suggests their strength and their insistence on being taken into consideration.

The use of charcoal and pig-ment is closely related in her use of organic

materials in the landscapes.

Kazuko Tajima`s latest works indicate a significant culmination of many

occurrences and pathways in her artistic journey, leading her to yet another threshold.

Salima Hashmi

Profile of Kazuko Tajima

2005 The Exhibition "Dialogue between Japanese and Korean artists

of 5 generation"(MARUKI Museum,Saitama)

2005 Solo Exhibition at Kumin G. Meguro Museum of Art (Tokyo)

2003 Exhibition with poet in Art Gallery BELLEVUE in Berlin

2003 Invited Painting Exhibitions in Durban, South Africa

by the International Literature Festival in Africa

2003 Invited the Exhibition of Philadelphia, USA

2002 Exibitions at CONTEMPORARY†ART FESTIVAL(Saitam Museum)

2001 Solo Exibitions at Nisshin Gallery,Tokyo

2000 Solo Exibitions at the Rohtas Gallery, Islamabad

Solo Exhibitions at Nomad Art Gallery, Islamabad

1999 Solo Exhibitions at Coopera Art Gallery, Lahore

1998 Exhibitions at CONTEMPORARY ART FESTIVAL(Saitam Museum)

1998 Solo Exhibitions at National Art Gallery (Islamabad)

by Pakistan National Council of the Arts (PNCA)

1987- Joined Japan Afro-Asian Latin-American Artists

Association (JAALA); exhibited works every year

1992 Invited Solo Exhibitions at Publishing Association of Korea

by Cross Cultural Center for Asia (CCCA), Souel

1988/90/93/95/98

Solo exhibitions, at Nisshin Gallery, Tokyo

1985 First Solo exhibitions, at BungeiShunju Gallery,TokyoA°@

1978-95 Organized the Art Institute for 21st Century in Tokyo

1976 Traveled in India, Nepal and Bangladesh.

1975 Traveled in London, Egypt and Greece.

1973-75 Studied classical painting techniques of Renaissance art in

Italy (Florence), France (Musee Louvre),Germany.

1969-73 Studied at Women's Art University, Tokyo (oil painting)

Art works for picture books and her own poetry collections:

The Lonely Fox, Gaudi's Ocean,Cloud Tales published by

Oxford University Press 1999 and Along the Aabpara Market Wall.

田島和子は、画家であり詩人でもある。彼女は地球上をくまなく歩くばかりでなく芸術

の世界の旅人でもある。パキスタン滞在中にはさまざまなやり方で自分の芸術

的表現を試みた。彼女の作品は地球上の現象や人々に対する興味だけでなく抽象的

な世界にも情熱を持っている事を示している。

そこには人間の精神の内と外との対話がある。彼女の最近の作品は従来画家が探求

してきた風景画に属するものである。しかし彼女の風景画は単に風景を写し出すだけ

でなくその風景と一体化しようとする試みなのである。つまり彼女の風景画の本質と

は外的な形態ではなくもっと基本的な概念なのである。

田島和子はいわゆる現実世界を自分自身のイメージと好きな材料で自由に表現しよう

としている。彼女は最初事物や思想を絵画や写真という従来の方法で描くことを試み

たが、現在ではよりとぎ澄まされた方法をもちいている。彼女の最近の作品は自身の

広範な紙作りの経験を生かしたものである。ある意味ではこれらの作品は自身の多様

な経験をもとにして、外的形態と思想の総合を図ったものと言える。従って彼女の風

景画は思想的により深く、また個人的体験の表象なのである。木や木炭、灰、土など

を細かく砕いたり煮たりして膠を混ぜたものを材料としているので、見る者は自然と

直に接している感じを受ける。こうした材料は自然に近いものと言うだけでなく自然その

ものを材料にしているからである。

彼女は自然をその色彩の多様さでとらえずその材質でとらえている。

我々は密度が濃くコントラストのある画面に近づくと色彩がないことにほとんど気づ

かない、自然の明暗が現れ我々は地面と空、昼と夜などを連想するが、やがてイメー

ジの変化が起き、ついにはその絵が何を表しているのかを考えなくなるが、そこには

時間と空間が存在しているのである。

彼女の最新の一連の作品は、彼女の芸術の旅での幾多の経験が一つの極みに達した

事を示すとともに彼女がまた新たな段階に向かっている事を示している。(鈴木祝子訳）

サリマ　ハシミ (画家、国立ラホール美術大学元学長)