Mainly based on Twitter, Namonaki Sanemasa has been posting and presenting his works in parallel with exhibitions since 2015 using his Twitter account (@sanemasa5x). Starting from the personalities of the Internet and the character of painters, he creates works that are influenced by technologies such as touch panels and SNS.
Namonaki’s works come to life in real-time as the artist overpaints core motifs one by one with related images found on the Internet, and thus combine aspects of searching and depicting at the same time. They can be seen as modern landscape paintings of the Internet age, with accumulations of information resulting in abstract images, and characters being - sometimes unintentionally - pictorially disassembled to pop up like ghosts.
2022
Acrylic and gesso on cotton, mounted on panel
91 x 51.2 cm
2022
Acrylic and gesso on cotton, mounted on panel
53 x 29.8 cm
2022
Acrylic and gesso on cotton, mounted on panel
53 x 29.8 cm
Drawing
2022
Acrylic and ink on paper
Dimensions variable
Namonaki Sanemasa
1994 Born in Fukuoka. Lives and works in Fukuoka.
2015 He has started posting his artworks on Twitter with the account name @sanemasa5x.
Solo Exhibitions
- 2018
- Solo Exhibition, Gallery Sojiro, Itami, Hyogo
- 2019
- Solo Exhibition, On Sundays, Tokyo
- 2020
- Solo Exhibition, On Sundays, Tokyo
- 2021
- Solo Exhibition, OIL by bijutsutecho, Tokyo
Solo Exhibition, NADiff Gallery, Tokyo
Solo Exhibition, IAF SHOP*, Fukuoka - 2022
- @sanemasa5x #landscape・and・so forthಠ_ಠ , Mizuma Art Gallery, Tokyo
Group Exhibitions
- 2019
- URAKAWA Taishi & Namonaki Sanemasa Two Person Exhibition #Owaranyai? #Mouowaranyai!, NADiff Gallery, Tokyo
URAKAWA Taishi & Namonaki Sanemasa Two Person Exhibition Owarumade Owaranaiyo, Contemporary Art Museum Kumamoto - 2021
- URAKAWA Taishi × Namonaki Sanemasa: Ikei eno Mado, Okawa Municipal Seiriki Art Museum, Fukuoka
Perpetual Gaze, Mizuma Art Gallery, Tokyo - 2022
- Under Current Powerlong Museum, Shanghai
So far, I have mainly produced two-dimensional works with the theme of SNS images and anime characters. In doing so, I tried to treat all motifs (whether real or virtual) as equals by mixing and fragmenting them as much as possible. This is because, as a person who uses SNS and web media on a daily basis, I felt uncomfortable with categorizing them and treating them as separate things. Treating them equally means not being attached to individual things at the same time. However, following the COVID pandemic, especially in the course of experiencing the social flow of the past year, gradually, I thought that I would like to reflect on the lack of first person when depicting the subject and reexamine this. An effort to get me to talk about those beings and works of art referred to as characters that have become like a comfort.
Namonaki Sanemasa