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A commonplace as well as a fantastic tale;
in everyone's heart there is a desired mandarin field full of romantic tales. With limitless symbols,
Shintaro Miyake in his happy but awkward mandarin fields encounters unexpected roses, himself, and the dawn. Mandarin season will end soon. Did you find your mandarin field in mind?
It might be as near as on the hilltop right behind the mountain, or as far as just around you…

 

Depicted specially for Taiwanese audience, “A COMMONPLACE TALE ” is a story seeming awkward however common created by Japanese Neo-Pop artist Shintaro Miyake in his hilltop of mandarin fields, through fantastic symbols. The mandarin is not only as its appearance of just mandarin, but also any possibilities of imaginations. In the Mandarin Fields there is all and none, happy, absurd and surreal just like an unorthodox arcadia far away from the mortal world and full of infinite possibilities.

There is always a perfect colorful drama play in Shintaro Miyake’s artworks. At the first glance they seem to look like vivid imaginary fantasy, however there are connotations far beyond the surface of cuteness and simplicity; sorrow hidden behind happiness. Obviously “A COMMONPLACE TALE” is the artist’s real exploration of his inner world. Besides the desire to the distant hilltops and the imaginary mandarin fields, the artist frankly faces possible insecurities and fear, through alien-like characteristics and scenes, interprets philosophically the outstanding layers of profundity in the common life. Whimsically, he uses word-painting to speak the story. Tales piled up by letters are endlessly presented, at the same time resolve and heal smoothly. Letters therefore become a mystic beautiful painting of paintings. Letters pour out one by one, constructing into stories followed by another, and while the artist and audience almost get lost, “CALM”, Shintaro Miyake says, “you should always be at peace”. Letters are paintings, styles, structures, colors, stories, emotions, interactivities, hopes, secret codes, daydreams from nowhere, however also the artist’s most honest confession as well as his fresh way of expression, unpredictable but logic in its unique way.

In his land people, animals and plants all have familiar triangle faces, small rounded long ears, noodle-like limbs, and happy faces with huge mouths and teeth. In order to speak awkward in the mandarin fields, Shintaro Miyake specially creates new characters and stories. Besides Peanut man, Clam man and Longhair girl, a new created character to be the Ordinary with a long nose. They are cute, awkward, somewhat evil, innocent, discrepant, and brave; interesting facial expressions and body gestures carry incredible geniality. Vivid gesticulations are imaginations real but difficult to outline which seem to bring the artist front of you. These outstanding characters play between colors and letters, passing the artist’s occasional murmurs, presenting the artist’s fresh way of expression. Thousands of words hidden under images look simple however complicated full of unruly conflicts. Each innocent and cute smiling face seems to be safe, however is a beautiful bomb full of power and force, blowing up people who stay wishfully in Shintaro Miyake’s mandarin fields.

 “Dawn” is Shintaro Miyake’s newly completed huge artwork, full of tensions of conflict aesthetics, and moreover, the best description of the artist at current: clams representing extreme calm unveil the dawn, leaving the past in the past, while the skull representing the birth throws away the restrained mind and bravely steps toward the future and dawn full of unknown and potential fright at when the moon and sun alters. It is none about animation or any contemporary art expressive form or technique, but Shintaro Miyake’s open heart to face truly his own real joy, sorrow and fear. Gestures of rawness and cuteness speak their own stories, those wonderless commomplaces in fact implying profoundly meaningful Zen verses.

A commonplace as well as a fantastic tale; in everyone’s heart there is a desired mandarin field full of romantic tales. With limitless symbols, Shintaro Miyake in his happy but awkward mandarin fields encounters unexpected roses, himself, and the dawn. Mandarin season will end soon. Did you find your mandarin field in mind? It might be as near as on the hilltop right behind the mountain, or as far as just around you…

 

Dawn / 140x413cm / 2012 / Acrylic, color pencil, pencil collage on paper
 

The Hilltop of Mandarin Fields / 110.5x280x7cm / 2010 / Acrylic, crayon, pencil on cardboard
 

And The Seasons Went By As If Nothing Ever Happened / 109x79cm / 2010 /
Pencil, color pencil on paper
 

Beginning / 79x548cm(parts) / 2010 / Acrylic, color pencil, pencil on paper

Beginning / 79x548cm / 2010 / Acrylic, color pencil, pencil on paper
 

Tree of Avocado / 79x79cm / 2010 / Acrylic, color pencil, pencil on paper
 

Walking Over / 79x49.8cm / 2010 Pencil, color pencil on paper
 

Anytime In Calm / 79x109cm / 2010 / Pencil, color pencil on paper
 

Hilltop Bicycle / 55x79cm / 2010 / Color pencil, pencil on paper
 

Starts By The Act of Eating / 156.5x161cm / 2010 / Acrylic, color pencil, pencil on paper
 

By The Way / 109.5x50cm / 2010 / Acrylic, color pencil, pencil on paper
 

Born And March / 31.5x121.8cm / 2010 / Pencil, color pencil, acrylic on paper
 

A Guy With Distinctive Teeth / 42x46cm / 2010 / Color pencil, pencil on paper
 

TENCE / 57x82cm / 2012 / Color pencil on cardboard
 

Usually / 57x82cm / 2012 / Color pencil on cardboard
 

Even Not Silent / 188.5x 489cm / 2011 / Acrylic, color pencil, pencil on paper
 

You Should Always Be At Calm / 89.5x18.5cm / 2010 /
Felt, tape, ink, pastel pencil, wire paint on cardboard

Shintaro Miyake's Text Script
             

And The Seasons Went By As If Nothing Ever Happened / 109x79cm / 2010 /
Pencil, color pencil on paper (parts)

The hilltop of mandarin field. Well…once upon a time although when it was not that long ago, there was a time so long ago that people did not know who they were. There was the earth and the sky so high, and there was a hill after hill. There was another hill beyond that hill, and over that hill there was another and so on. Nobody knew where the first hill begun. But the people knew that it existed for sure on that hill top spread tha mandarin orange field, and there still a giant tree full of orange fruits. A long time ago before nobody ever knew, when the season came the orange seeds sprouted and the flowers bloomed. At that time, the hills here, there and everywhere else where everyone knew, the people were eating, sleeping, getting angry and laughing. Far far beyond the hill where no one knew. When the season come the orange fruits grew. At that time on the hills where everyone knew, people here and people there ate, slept and were waking up without knowing nothing as out the orange fields. And they were laughing. And then the season come and the fruits fell again, while people here and there slept, woke up and were eating and were laughing just as always. And the seasons went by. As if nothing ever happened.

 

By The Way / 109.5x50cm / 2010 / Acrylic, color pencil, pencil on paper (parts)

The hilltop of mandarin field. The girl liked mandarin oranges. She was in found of the cute looks and found the sweet and sour scent quite refreshing. But what she really enjoyed was to eat them. She liked to eat the oranges. But when she start eating she always ends up finish eating. The girl knew that the mandarins will be gone when she eats them. So she always questioned herself whether to eat or not to eat. One day, the girl was having a difficulty to decide as usual. Then came a well-dressed gentleman from her side of the hill. He was wearing hat, and he was quite tall. “You should always be at peace.”Says the gentleman, and walked away to another hill.

 

Even Not Silent / 188.5x 489cm / 2011 / Acrylic, color pencil, pencil on paper (parts)

Only the one wanting to hear it is heard. Only the one not wanting to hear it is heard. Sound voice and noise the noise is a reality. The intention in the sound word mean it. The reality ahead a constant sound continues it becomes synonymous with there is noting too. Silent and silent and silent. There even not silent.

Sound of start of the world. Of course it has not heard it. Does the flow start? Consideration for whom will be start start the world? When the tree falls in the interior of none of forests that are, is the sound that the tree falls done? Who on earth hears the sound done in none of the places that are? Does existence exist in the place without the sound either? Where does the sound that should have existed there till then go when oneself loses the existence?

The cooped-up feeling come suddenly on a certain morning. Not me oneself but sense sense that exists in head another world or exists.

The one heard even if keeping silent. If it hears it. Do not you hear it? Or is it the one that always flow sin to the head without any relation to the intention? Will is it only a sound or it will be my consideration? Where do you come really with consideration?

It is a thing of a lime the thing, and now that a rose in this world. The thing and the memory of a lime in the thing and the memory that there is a new life that there are many things of dying. And predecessors who have already died that will arise in the thing and the future before long will be tings before long like the thing and the relation…etc. things of family, things of kin, things of I and these time of disappearing now.

However the situation h the situation has been slowly advanced from the matter for two months.
Or is it a place in which it was said that it would not advance at all?

There is a thing ob being liberated from a certain kind ob restraint by losing one.

However there is however. However there is not staying. However because there is only one truth of the situation though it has picked up though it is deteriorating.



Dawn / 140x413cm / 2012 / Acrylic, color pencil, pencil collage on paper (parts)

Dawn. Long Time at Bone Time. Thing to compose screen clipping lt does not support it. The reality is already the opposite here in each person in the person situation though it does not know even if it is a bad thing even if it is a comparison good thing though not known how to it receives it. Time when it is possible to do and alive drawing was done in front of students occasioning at the time of the lecturer three years ago in an art system special school is originally a prototype in this work. At the beginning the scene of “2001: a space odyssey” was drawn with apelike (kigurumi) at that time. The drawing did not complete, and under such a condition, had been left in the atelier.

There was confidence only in drawing a picture the feeling needed truly by itself was able to be expressed on paper about ten year has passed and it got sick mentally the uneasiness of drawing a picture grew severe it became impossible to find out a meaning for one to have done it is still alive where is.

It little neck clam is drawn with signs of the drawing left this time.It is a slogh from the character of sweet who continues since before, and appearance of my own chance at the same time, too.

 

TENCE / 57x82cm / 2012 / Color pencil on cardboard (parts)

I was and was a line when noticed if it has these casual days consciousness will not got exist of self but just as he is conscious death is not acquired for an idea colander simultaneously with raw fear of death which continues as long as it is a line distrust to existence it is born by zero and as it returns to zero what is uneasy? The thing being a line itself feeling of despair that the only solution is the fear it self. TENCE


Shintaro Miyake  
   
1970 Born in Tokyo, Japan
1996

B.A., Tama Art University, Tokyo, Japan

   

- Solo Exhibitions -

2012 "A COMMONPLACE TALE", Metaphysical Art Gallery, Taipei, Taiwan
2011 "CALM CLAM" GALERIE GABRIEL ROLT, Amsterdam, the Netherlands
 

"IT AIN'T NOTHING BUT THE LIFE", Tomio Koyama Gallery, Kyoto, Japan

2009

"There are TWO TRUTHS!", c/o -- Gerhardsen Gerner, Berlin, Germany

2008 "Egypt -Path to Civilization-", Tomio Koyama Gallery, Tokyo, Japan
2007

"Maybe it's a bright side of life", Takahashi Collection, Tokyo, Japan

 

"Innocy's House", Museum Gugging, Art/Brut Center Gugging, Vienna, Austria

  "HATCHOBORI", Galerie Krinzinger, Vienna, Austria
2006

"Beaver no Seikatsu", Sandra and David Bakalar Gallery, Massachusetts College of Art, Boston, MA, USA

  "NI-MARU-MARU-ROKU, in DOITSU", c/o Atle Gerhardsen, Berlin, Germany
2005

"ATSUMORI", Tomio Koyama Gallery, Tokyo, Japan

2004 "Minotauro contro Mostro Marino", Galleria Suzy Shammah, Milan, Italy
 

"Innocy's House", Krinzinger Projekte, Vienna, Austria

  "The Fourth Planet Hour", c/o Atle Gerhardsen, Berlin, Germany
2003 "SWEET SUMMER", Tomio Koyama Gallery, Tokyo, Japan
2002 "Shulascaux no Hekiga (Wall Painting of Shulascaux)", Gallery Kaku, Tokyo, Japan
2001 "Japan Garden Fuji Girl - FUJI-SIDE", Setagaya Gallery Umegaoka, Tokyo, Japan
  "Japan Garden Fuji Girl - GIRL-SIDE", Za GALLERY Ariake, Tokyo, Japan
2000 "SWEET-SAN", Setagaya Gallery Umegaoka, Tokyo, Japan
1999 "Forever Mama-san", Kobo Ginza, Tokyo, Japan
1998 Kobo Ginza, Tokyo, Japan
   
- Group Exhibitions -
2010 "Hito Hito", Bambinart Gallery, Tokyo, Japan
2009 "Detour, Moleskine travelling exhibition", MoMA Design Store, Tokyo, Japan
  "NO MAN'S LAND", Ambassade de France, Tokyo, Japan
2008 "JEKYLL ISLAND", Honor Fraser, Los Angel, CA, USA
 

"neoteny japan: Contemporary Artists after 1990s from Takahashi Collection", KIRISHIMA OPEN-AIR MUSEUM, Kagoshima, Japan(touring Sapporo Art Park, Hokkaido, Japan, 2008-09 / The Niigata Prefectural Museum of Modern Art, Niigata, Japan 2009 / Akita Museum of Modern Art, Akita, Japan 2009 / Yonago City Museum of Art, Tottori, Japan 2009-2010 / The Museum of Art EHIME, Ehime, Japan 2010)

 

Richard Heller Gallery, Santa Monica, California, USA

2007 "3L4D w 3rd Life 4th Dimension", Metaphysical Art Gallery, Taipei, Taiwan
  DETOUR. The Moleskine City Notebook Experience, Art Directors' Club, New York, USA
2006 "Berlin - Tokyo / Tokyo - Berlin", Neue Nationalgalerie, Berlin, Germany
  "NAOSHIMA STANDARD", Former Barber, Naoshima, Kagawa, Japan
2005 "Mixed-Up Childhood", Auckland Art Gallery, Auckland, New Zealand
 

"JaPan PoP", Museum Tennis Palace, Helsinki City Art Museum, Helsinki, Finland

2004 "Officina Asia", Galleria d'arte Moderna di Bologna, Bologna, Italy
 

"Fiction.Love - Ultra New Vision in Contemporary Art", Museum of Contemporary Art Taipei, Taiwan

2003 "Mr. VS. Shintaro Miyake Exhibition", NADiff, Tokyo, Japan
  "Opening Exhibition", Tomio Koyama Gallery (Shinkawa), Tokyo, Japan
  "HOPE - do hope for the future", Laforet Museum Harajuku, Tokyo, Japan
  "The Japanese Experience - Inevitable", Museum der Moderne Salzburg, Salzburg, Austria
2002 "GEISAI-1", Tokyo Tower Amusement Hall, Tokyo, Japan
2003

"The Japanese Experience - Inevitable", Ursula Blickle Stiftung, Kraichtal, Germany (touring Museum der Moderna Salzburg, Salzburg, Austria, 2003)

  "GEISAI-2", Tokyo Big Site, Tokyo, Japan
  "Emotional Site", Saga-cho Shokuryo Building, Tokyo, Japan
2001

"Design Festa", Tokyo Big Site, Tokyo, Japan

1994 "URBANART #3", PARCO Gallery Shibuya, Tokyo, Japan
1993 "URBANART #2", PARCO Gallery Shibuya, Tokyo, Japan
   
- Public Collection -
  Takahashi Collection
 

Art / Brut Center Gugging

 

Rubell Family Collection

 

Kistefos Museet, Jevnaker

  Astrup Fearnely Museum of Modern Art, Oslo
 

Jean Pigozzi Collection

   
 
   
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