Description
MAYA NUKUMIZU_”Marguerite
Specification:Hardcover
Size:A4
Page count:64pages
The image shown is the book cover design.
Maya Nukumizu Profile
1982 Born in Kyoto
2007 Completed Graduate School of Art and Design, Kyoto University of Art and Design
2005 Graduated from Kyoto University of Art and Design, Department of Information Design
Main Exhibitions
Solo Exhibitions
2012 “HANBUN SHINDERU” cikolata, Tokyo, Japan
2012 “Wonderful World”, Para GLOBE, Tokyo, Japan
2009 “I am strong, you are weak” ArtJam Contemporary, Tokyo
2006 “Keiichi Tanaami prezents debutante 2” art space Eumeria, Tokyo
Group Exhibition
2011 “Nukumizu Maya and Nishi Yukari’s Production Room” PULP / Osaka
2011 “Trans-plex”, Kuandu Museum of Fine Arts, Taipei, Taiwan
2010 “It must be your sexy way” AKI Gallery / Taipei
2010 “Tokyo Decadence” Ten Haaf Projects, Amsterdam
2009 “Megane Exhibition 2”, HVW8 Art + Design Gallery, Los Angeles, CA
2009 “Flowering” gallery trax, Yamanashi
2008 “CowParade Tokyo Marunouchi 2008” Marunouchi, Tokyo
2008 “CowParade Tokyo Marunouchi 2008”, Marunouchi, Tokyo
2007 “ART AWARD TOKYO 2007” Gyoko-dori Underground Gallery, Tokyo, Japan
2007 “Stars Leaping Out of Chaos 2007,” Spiral Garden, Tokyo, Japan
Awards
2006 “AMUSE ARTJAM 2006 in Kyoto 5th ANNIVERSARY”, Jury’s Special Prize
, Tokyo
2005 “ARTBEAT KYOTO 2005” Grand Prix (selected by Keiji Ito)
“The 5th “21st Century Asia Design Competition”” Second Prize
“Recommendation Comment ”
From her graduate school days at Kyoto University of Art and Design to the present, Maya Nukumizu’s world of expression has repeatedly featured girls reminiscent of the “combat beauty” image. The image of fighting girls created by our country’s unique culture, such as “Knight of the Ribbon,” “Sailor Moon,” and “Cutie Honey,” has now permeated an astonishingly wide area without any sense of unease. The stories of dainty, innocent girls fighting are truly bizarre and bizarre, but they have a strange reality that uplifts the viewer and persuades him or her. In contrast, the fighting girls who emerge from the canvas of Nusui’s work are fascinating because they are full of eroticism and playfulness that is different from the heroines in combat-oriented animation. Nukumizu’s unique technique of sharply cutting out a moment of movement evokes the passage of continuous time and a labyrinthine narrative. The space similar to a theater in which the picture plane is constructed in layers is one of the outstanding features of Nukumizu’s works, and the complex dramatic composition in which several complicated stories are going on at the same time is also worth seeing. The trompe l’oeil space and the flow of time in a single picture, as well as the fictional story that can be freely reconfigured according to the viewer’s interpretation, will continue to grow more complex and deepen in the future. Another attraction that makes Nukumizu’s works stand out is the sharp straight lines that radiate unconsciously and the suspicious curves of the unusually long eyelashes created from sexual fantasies. Also, one cannot overlook Nukumizu’s strong interest in sexual expression and the perverse eroticism, such as fetishism, sadism, and masochism, that lurks in the depths of her work.
The day when “Fighting WONDER WOMAN Maya Nukumizu” will fly far into the sky may be near.
Keiichi Tanaami
It is one of the greatest joys for me to encounter a gemstone with a sparkle in its depths during my interactions with young students. How fascinating it is to encounter an unusual presence that foreshadows an unknown but strong leaping power. In my first year of teaching at Kyoto University of Art and Design, I suddenly encountered this gem in the rough. And he was a very special one.
I will never forget the first day of the seminar. A polite and modest female student showed me a small sketchbook. Flipping through the pages, I found punkish drawings that I could not have imagined from her appearance. Moreover, the eyes of the girls who were the motif of the drawings were sparkling and bright as if they were crazy, and they were completely raunchy. My eyes were glued to the unprotected intoxication that lightly exceeded normal values. That was my vivid encounter with Maya Nukumizu.
The following year, Maya Nukumizu won the Grand Prix at the ARTBEAT AWARD held in Kyoto, and the uninhibited charm of her works astonished the judges and spectators. The overwhelming works of hers, which had evolved even further, showed that the rough stone had already begun to shine.
As you can see, the growth and success of the artists since then has been nothing short of spectacular. The glamorous madness that amplifies with each new release is sure to captivate even more people in the future. She is a truly formidable talent.
Maya Nukumizu. Shine, mad diamond!
Keiji Ito.
Back then, I was not at all interested in other people’s works, and would usually just pass by whatever I saw with a “hmmm. Then one day, I was unexpectedly “hit” by a shock. The powerful monstrous rays of light emitted by the heretical goddesses on the screen burned in my mind in every direction, leaving nothing but an afterimage. The world of the innocent and unmistakable lines that I drew with chalk on the road while picking my nose with a terrible look on my face, the dainty and cruel world of a little girl in her favorite red shoes and frilly dress who is crushing a swarm of ants in the palm of her hand. I seriously wondered if I could shoot people with my drawings (not physically, of course), but even weapons of any kind are instantly rendered powerless in the face of penetrating innocence. I was wonderfully struck down by Maya Nukumizu’s work. Later, I had a chance to meet Ms. Nukumizu for the first time. It was a short meeting, just a greeting, but I was stepping on it inevitably in my heart.
SHOHEI
Nukumizu’s work is a story that could never be contained in a single sheet of paper, and yet she manages to express it in a single piece of paper with such ease that it is almost pleasurable. Her works are like serial dramas, animations, and sometimes feature-length movies. The overwhelming amount of information condensed into a rectangular world, the unwavering lines, and the inexhaustible intersections of time axes (the time without water!), make her world a very complex and intricate one to watch. The world is so complex and intricate that it takes the viewer into another world. With a “happy” fear of not being able to escape from the world she creates, I hope to be able to explore this world of Nukumizu for a long time to come. I believe that Maya Nukumizu’s works depict another world that may exist somewhere in this world.
Kosuke Kawamura
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