Nobuhiro nakanishi biography sample

Nobuhiro Nakanishi was born in Fukuoka, Japan. He received a Bachelor of Fine Arts from Tokyo Zokei University and a Masters of Fine Arts from Kyoto City University of Art. Nakanishi lives and works in Osaka.
His work has been included in numerous solo and group exhibitions throughout Asia and Europe.
Mr Nakanishi’s work is a departure from what has traditionally been understood as sculpture making, which typically involves representing humans or objects in three-dimensional interpretations using media like wood, stone, clay or metal.
In his work, Mr Nakanishi distances himself from the weight, gravity and materiality of media related to sculpture. His expression deals with antithetical ideas of existence and absence, the material and the non-material, the visible and the invisible generated in space, the visually imperceptible, senses and conceptual territories such as consciousness, thoughts, memories and time, inviting the viewer into a mysterious experience.

Through sculpture-related experiences such as working with clay and giving forms, I often become conscious of the meaning of looking at an object. It refers to the act of watching the object carefully, carving materials physically, transporting it to eventually transform a space. It is the act of thinking through labor dealing with conflicts between information coming through my eyes, images in my mind, and materials that I have at hand.

While creating an object through observation, I always think about what is missing there, imagining its back side despite of looking at the front. I not only think of my feelings at different moments including the transportation time but also think of the past and what I have not seen yet. Different from a painting, it is not cut into a frame. It is neither edited like video images. I can incorporate elements of both time and space as one into this work of creation. In short, it is probably an act closest to the act of looking at an object in our daily life.

Looking at the pose of Michelangelo’s sculptures of slaves, we remember, from how the bones and muscles covering its surface flow, physical pain and restraint that we felt when we were in the similar position. What it expresses is not simply physical pain, but the

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