宮脇周作 河合真里 STILL LIFE


2-person Exhibition by Shusaku MIYAWAKI and Mari KAWAI

宮脇周作 河合真里
STILL LIFE ―静かないのち―”

会  期

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YUKI-SIS では、2023年10月7日(土)より、宮脇周作、河合真里の2名の作家による展覧会、「STILL LIFE―静かないのち―」 を開催いたします。


YUKI-SIS will hold an exhibition by two artists, Shusaku Miyawaki and Mari Kawai, from October 7, 2023,“STILL LIFE-Quiet Life". We will introduce their "still life paintings" in different styles.


宮脇周作 果物
宮脇周作 果物 2015 380x455mm (F8)  Oil on Canvas

宮脇周作 Shusaku MIYAWAKI

1980年福岡県生まれ。 2003年成安造形大学造形学部デザイン科イラストレーション群イラストレーションクラス卒業。

Born in 1980 in Fukuoka Prefecture. Graduated from Seian University of Art and Design, Department of Design,Illustration Group Illustration Class in 2003. Currently resides in Tokyo. Works as a court painter for Nihon Television while creating his own artwork.



Miyawaki says that if he looks at a person for a few dozen seconds, he can faithfully portray that person's appearance. In an instant, he is able to grasp and capture the essence of his subject's essence, the expression and appearance born of shifting emotions, and he says that he tries to "be just a camera" himself in court. He says that this is because in a trial that is so widely covered in the news, if he listens to the brutal details and the background of the accused, his own mind may be so affected that his pictures will be mixed with his personal feelings, and he will not be able to portray an objective picture. In order to convey the atmosphere of the courtroom in the limited time available, the works are drawn in pencil and watercolor.

There is a reason why he chooses "still life" as the motif of his oil paintings.

宮脇周作 Lemmons and art supplies
宮脇周作 Lemmons and art supplies 2021 333x333mm Oil, Acrylic on canvas







<The Life of a Still Life: What He Can See by Continuously Staring at the Subject >

First, Miyawaki is particular about painting works without using any photographs or other media, but rather by looking at the subjects as they are. When using flowers or fruits as his subjects, he begins by arranging them as if they were actors on a stage set.

He spends 70 to 100 hours painting while looking at the subject. He spends two to three weeks before the painting is completed, and he considers the slightest change, breath, or sequence of moments during that time as the "life" of the subject and tries to accumulate on the canvas all the moments with that life that he is involved with. Miyawaki's gaze on the existence of plants and fruits in such a way may be because he feels the weight of life more than most people, as he realistically feels in court: "How big deal it is the loss of a single human life”.

He chose slowly changing plants, fruits, and bottles which he has long used as motifs to capture light. As subjects for his oil paintings he doesn’t choose people or landscapes because "the speed of change is too fast, and the stimulation is too strong to capture it all”.

Do we ever "keep staring" at a single subject like that in our daily lives? Miyawaki creates "paintings that leave the time of staring" on the canvas, which is only possible if the subject changes slowly.

宮脇周作 5つのレモン
宮脇周作 5つのレモン 2023 220x273mm Oil on Canvas





On Miyawaki's paintings, the subjects of his painting live the same time from the beginning until about 50% of the painting is done, and then he continues to paint one by one. As the result, the finished painting has both lively and decayed flowers in the same vase. Most still-life paintings, which were produced simultaneously in Italy, Spain, Belgium, Holland, and elsewhere in the 16th and 17th centuries, depict the subjects in the same still state of time. Since oil painting is a technique that requires a certain amount of time because it does not dry quickly, it is said that at the time when photography did not exist, wilting flowers were probably replaced by fresh flowers. Still life paintings have depicted vanitas (transience), which expresses the impermanence of this world, private collections, and dining tables, which give a glimpse of life at that time.

Why does Miyawaki leave all traces of time on the canvas in his still life paintings? It can be said that this is because it is a proof that Miyawaki saw the life of his subjects to the very end.

Because he paints using natural light in his room, the light and temperature inside the room vary depending on the time of day and the weather. Miyawaki says that even though he paints the same motif, the way he sees the subject changes as the shades of his interest in the subject change. Because Miyawaki paints as if in dialogue with his subjects, he believes that it would be a waste not to depict the three-dimensional world and what is emanating from it.

On Miyawaki's still life paintings, we feel the fragile beauty , and that the artist was simply watching their lives.

【Artist Note】










[Artist Note]

I paint in oil.

Still life painting is an important theme for me because I can take my time and paint it every day.

I paint and erase the motifs (vessels, flowers, fruits, etc.) in my studio, and through the repetition of painting and erasing, what seems like "traces of thoughts" become the tone (shading) of my paintings.

Rather than copying photographs, I try to capture what I see in front of me in my own way of seeing and thinking. I work daily on familiar motifs as if I am seeing them for the first time, and with the feeling that I may never see them again.

I paint in flowers and fruits as they are, so that the freshness of the first time I started to paint them and the decay of the fruit over time are both captured in my work.

I also paint flowers and fruits that are decaying as they are, so there are many works in which the fresh and fresh parts when they were first painted and the parts that have decayed over time seem to be fixed in one picture.

If the method is to express "what is happening in front of me right now," it can be a monochrome monochromatic painting, or a painting far from the original colors.

Sometimes I use egg tempera or acrylics in addition to oil paint.

Flowers and fruits were indeed right in front of me,

I hope that the paintings will give the viewer a sense that the flowers and fruits were indeed there in front of them (but no longer are).


宮脇周作 Blue CannaS
宮脇周作 Blue Canna 2019 604 x 398 mm Oil on Pannel


宮脇 周作

1980年  福岡県生まれ。

2003年 成安造形大学造形学部デザイン科イラストレーション群イラストレーションクラス卒業。


2015年 東京新宿・花園画廊 油彩画個展。

2018年 東京銀座・ギャラリー枝香庵 油彩画個展。

2019年 東京日本橋・YUKIーSIS「STILLLIFE」グループ展

2022年 東京銀座・OギャラリーUP・S油彩画個展



河合真里 group (pre-ripe)
河合真里 group (pre-ripe) 2023 318x410 mm Oil on Canvas

河合 真里 Mari KAWAI

1987年兵庫県生まれ。武蔵野美術大学造形学部油絵学科卒業後、2012年同大学院修了。2015年には東京オペラシティーアートギャラリー「project N 59」で個展。2019年度武蔵野美術大学パリ賞受賞。19年-20年Cité internationale des arts(パリ)に滞在。2022年KAIKA AWARD TOKYO2022小山登美夫賞受賞。


Born 1987 in Hyogo, Japan. Graduated from Musashino Art University, Department of Oil Painting, and completed the graduate course in 2012. 2015 solo exhibition at Tokyo Opera City Art Gallery "project N 59". 2019 Musashino Art University Paris Prize. 2019-20 residency at Cité internationale des arts, Paris. 2022 KAIKA AWARD TOKYO2022 Tomio Koyama Prize. He was awarded the KAIKA AWARD TOKYO2022 Tomio Koyama Prize in 2022.

He currently lives and works in Tokyo.


When I first saw Mari Kawai's work, I was very impressed by the soft lines and shapes, the soothing motifs and the brightness of the colors and their backgrounds. The motifs in her works include fruits, plants, and some kind of creatures that I am not sure what they are, but they are not realistic in a good way. They are somehow snarky yet lovely, and you feel a comfortable distance from the motifs. It looks soft and yet cool and creates a somewhat silly and funny expression.

河合真里 group (waiting)
河合真里 group (waiting) 2023 72.7×91.0 cm(F30) Oil on Canvas





<What is important to you when creating a work of art?>

Kawai says that she tries to keep her motifs neutral and not biased toward one side or the other, but rather to have them exist in a way that they can be taken either way.

As an example of how the same phenomenon can be depicted in different ways depending on the viewer's perspective, she used the analogy of a "glass half-full of water.

How do you look at a glass that “It is good thing there is still half a glass of water, left” as optimistic or "It's only half full. What should I do?” as pessimistic. Generally, it is thought that positive thinking is better, but it is not the case that only one side is good, and the other side is bad; both sides naturally exist. She believes that it is not only the result, good or bad, but also the relationship between the two sides that is important.

河合真里 group (trio)
河合真里 group (trio) 2023 455x380 mm (F8) Oil on Canvas






<Catching something a little interesting as a form and paying attention to it.>

She says that she is attracted to fruits that are not perfect but are sometimes scratched and peeled back to reveal their contents, or are snorted or oddly colored. Rather than depicting a perfect being, Kawai's endearing individuality is brought out by deforming the slightly unusual and interesting in reverse.

Kawai says that when she paints still lifes, she sometimes creates maquettes (models) out of clay.

The motifs of her paintings are not based on two-dimensional photographs, but have their own creative and free forms, so by making them three-dimensional with her own hands, she is able to know their existence and characters anew and capture their charm in her paintings while looking at their miniatures. I think this is a great way to learn about the background of a painting and its motifs. The relationship between the background of the painting and the colors and shapes of its motifs also suggests that we should feel and decipher, not stabilize. What do you think of this situation? Like that.

The presence of that motif, which makes us smile, will cause us to look at it with a sense of familiarity, unknowingly reading its character and relationship to us.

河合真里 Staying
河合真里 Staying 2019 330×410 mm (フランス6号) Oil on Canvas

【Artist Note】








I sometimes paint while looking at miniatures of fruits and hands made of clay.

I think it would be better to look directly at real fruit or my own hands, but I feel that this would be too "raw" or something I could not deal with, so I use this method.

The miniatures are simple in form, and I leave them white with little or no coloring.

I paint with my left hand gripping the miniature and my right hand holding a brush, and the lump of clay serves to move back and forth between reality, the painting, and my inner world.

The life forms in the paintings, born across multiple worlds, do not grow or decay, but continue to exist in silence.

We wonder what kind of relationship they can establish with their surroundings and connect to us.


河合真里 gesture (touching)
河合真里 gesture (touching) 2023 652×910 mm (P30) Oil on Canvas

河合 真里


2010年 武蔵野美術大学造形学部油絵学科油絵専攻卒業

2012年 武蔵野美術大学大学院造形研究科美術専攻油絵コース修了


2022年 see through/アートスペース88(東京都)

2021年 planting/YUKAKU(東京都)

2020年 midpoint/コートギャラリー国立(東京都)

2018年 model/日本橋三越本店(東京都)

2017年 Clear Soup/BRÜCKE COFFEE(東京都)

2016年 naming/ 数寄和(東京都)

2015年 project N 59 河合真里/東京オペラシティアートギャラリー(東京都)

2013年 TWS-Emerging 2013/トーキョーワンダーサイト本郷(東京都)


2023年 interval/ KATSUYA SUSUKI GALLERY(東京都)

New Year Group Show 2023「境界」, FACE TO FACE(東京都)

2022年 MITSUKOSHI Art Weeks/ 日本橋三越本店(東京都)
YUKI-SIS 10周年記念展 「To Ourself in 10 Years」/ GALLERY YUKI-SIS (東京都)
第19回アートギャラリーホーム展/ チャームスイート代田橋(東京都)

2021年 惑星 -PLANET-/日本橋三越本店(東京都)
アートブック & アートグッズ /BankART KAIKO (神奈川県)

2020年 むらさきしきぶ―河合真里・宮本絵梨展/あらかわ画廊(東京都)

2019年 Open Studio-小野有美子・河合真里/Cité internationale des arts(パリ)

2018年 ASYAAF 2018&Hidden Artists Festival /東大門デザインプラザ(ソウル)

2017年 第53回神奈川県美術展 /神奈川県民ホールギャラリー

2016年 cin cin!/数寄和、数寄和大津(東京都、滋賀県)
第52回神奈川県美術展 /神奈川県民ホールギャラリー

2015年 ギャラリーへ行こう 2015/株式会社 数寄和、数寄和大津

2014年 膜をほどこす/橘画廊(大阪府)

2012年 ギャラリーへ行こう 2012/数寄和、数寄和大津


2011年  理化学研究所 展示プロジェクト2011/ 独立行政法人 理化学研究所・横浜研究所(神奈川県)

2010年 平成21年度 武蔵野美術大学 卒業制作・修了制作優秀作品展/武蔵野美術大学(東京都)


2023年 マイクロ・アート・ワーケーション(MAW)2023(静岡県)

2019年4月-2020年3月 Cité internationale des arts(パリ、フランス)


2022年 KAIKA AWARD TOKYO 2022 小山登美夫賞

2018年 2019年度武蔵野美術大学 パリ賞

2012年 トーキョーワンダーウォール公募2012 準大賞

2010年 武蔵野美術大学 卒業制作 優秀賞


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2019年 公益財団法人野村財団 2019年度下期 芸術文化助成