浜田浄／Hamada Kiyoshi

浜田浄（1937～）は、国内外で精力的な活動を展開している現代芸術家です。

1937年、高知県に生まれた浜田は、1961年に多摩美術大学美術学部絵画科油画専攻を卒業後、戦後の現代美術界に多大な影響を与えた斎藤義重（1904～2001）との出会いなどを契機に、独自の抽象表現を模索していきます。浜田の創作の出発点は版画でした。余分なものを極限までそぎ落とし、自身の心象風景を描き出した抽象作品は、1977年の現代版画コンクール展における佳作の受賞で一躍注目を集め、以降も一連の版画作品で華々しい受賞歴を重ねました。しかし、作品を自身の手で完結させることのできない工程に違和感を覚えた浜田は、1980年代に入ると、鉛筆と紙という最もシンプルな道具と素材で、線の表現が持つ可能性を広げていきます。鉛筆で一本一本線を引き、白い紙の上に一寸の隙もない黒い面を作り出す「Drawing」シリーズは、その実験的な制作のなかで生まれ、彼の代表作の一つとなりました。

そうした独自の手法を確立させたにもかかわらず、浜田はあっさりとこのシリーズからも離れ、絵の具が何層にも塗りまれた画面をカッターナイフで削ったり引っかいたりするアプローチを実践したほか、近年では合板に木片をいくつも重ねた半立体作品を発表するなど、現在も新しい表現を意欲的に追求し続けています。

Kiyoshi Hamada (1937~) is a contemporary artist who has been actively　engaged in artistic activities both domestically and internationally.

Born in 1937 in Kochi Prefecture, Hamada graduated from the Department of Painting, Oil Painting Major, at Tama Art University in 1961. His encounter with Yoshishige Saito (1904~2001), who had a significant influence on the post-war contemporary art scene, prompted him to explore his own abstract expression. The starting point of Hamada’s creation was printmaking. Stripping away the excess to the utmost, his abstract works depicting his own mental landscapes gained attention when he received an honorable mention at the Contemporary Printmaking Competition Exhibition in 1977, and he continued to accumulate prestigious awards with a series of printmaking works thereafter. However, feeling uncomfortable with the process that couldn’t be completed by his own hands, Hamada, in the 1980s, began to expand the possibilities of line expression using the simplest tools and materials: pencils and paper. The “Drawing” series, in which he drew lines one by one with a pencil, creating a completely black surface on the white paper without a single gap, was born out of his experimental production and became one of his representative works.

Despite establishing such a unique technique, Hamada easily moved away from this series. He practiced an approach where layers of paint-covered surfaces were cut or scratched with a cutter knife. In recent years, he has also been actively pursuing new expressions, such as presenting semi-three-dimensional works by stacking multiple pieces of wood on plywood.