季刊美術屋 百兵衛 2020年4月

アート・ソムリエ 山本冬彦氏のコラム「私の気になる作家たち」でご紹介いただきました。















Review by Fuyuhiko Yamamoto 

The first is Masako Asaba. She graduated from Josibi University of Art and Design in 1982. After that She held solo exhibitions at Surugaday Gallery and Miyasaka Gallery in Tokyo and received some awards in 1990s. She was active as a young Nihonga Painter.

Since she had studied at Konstfack in Stockholm and became a regular artist for Hoshino Shingo Prize in Toyohashi City.

I am not sure when I saw her works first. But I noticed that interesting artist who interweaves the modern women with women in ukiyoe at Kobayashi gallery where she have held her solo exhibition every year since 2011.

She voices the idea behind her art as: “ There is Japanese culture and women. I create my works by seeing Japanese art history from feminist perspective. I once again realized the presence of wonderful Japanese ukiyoe artists, including shunga through my experiences in Sweden.

During the Meiji Restoration, Japanese government did something similar to what the Chinese did a little later on, a sort of cultural revolution, where they cut the ties with the feudal past and tried to westernize Japan. I would like to take those Edo roots and connect the traditional Edo women with the modern post-Meiji women. I hope my eorks are filled with humor and happiness.”


月刊アートコレクターズ12月号の特集 2019


Monthly magazine Art Collector Featured an article on Connecting to Edo era in it’s December edition. In that article I was presented .


中日新聞 2019年5月14日 東三河版「ミュージアムだより」に掲載されました


Review in Chunichi News Paper /About a work in collection exhibition at Toyohashi City Museum of Art and History 





Pop a Hishida’s masterpiece

This composition seems to hit something in many of the viewer’s minds. The base of this painting is “Fallen Leaves” by the Japanese Nihonga painter Shunso Hishida who passed away at the age of 36 in Meiji era.

“Fallen leaves” was painted using air perspective. Shunso Hishida succeeded in expressing real spatial representation in the painting. Later it became the important cultural property.

Using this famous painting as a base, Masako Asaba bent the “Fallen Leaves” to her own will,  interpretation and technique many time over. While Shunso shows the depth and the stereoscopic appearance of the forest using delicate shades of color. Masako Asaba dares to dissolve the flat color panels, and overlap them to completely rebuiding the space.

She creates pop and modern work using vivid color schemes of orange, yellow and blue in addition to her signature check pattern.  

(Nobuyo Okada, Curator in Toyohashi City Museum of Art and History )

月刊Gallery 4月号 2019








                                                                                                                 石川千佳子 美術評論家












春画について、研究者のT・スクリーチは — 江戸の男女はそのように生きていない。なるほど。しかし、だからこそ絵を必要としたのである。とくに春画はそのためのものだった(高山宏役『春画』講談社)— と語る。




若い女性たちは美しい。— しかし老いた女たちはさらに美しい(ホイットマン『草の葉』鍋島能弘・酒本雅之訳 岩波文庫)


About Masako Asaba solo exhibition, SOLITUDE

Art Critic Chikako Ishikawa

The images of that past exhibit still rattle in my head.

The perfect balance of realism and decorativeness, the painted costumes revealing the patterns of ukiyoe-shunga which had been present in Masako Asaba’s life for some time now.

Her previous works were dominated by close-ups of feet surrounded by flowers and refined lines of lover’s faces when making love with colorful pop representation. This time however, things get more complicated.

Make no mistake, Masako Asaba’s shunga while deeply rooted in the history is far from any form of repetitiveness. It comes wrapped in a cool air of modernity.

In the traditional shunga it is often difficult to distinguish between the males and females as the two make love in a world of equality and lack of violence. While Masako’s works cut deeply into the spirit of the traditional shunga artists, at the same time they’re changing and re-defining the genre.

It’s no different this time around. Her latest exhibition is filled with women’s torsos which bring to mind the big trees in wall painting popular during the Momoyama period.

The women are portrayed rather realistically. They are of various age, often showing only a part of their faces which allows for a dose of anonymity, leaning   the audiences the possibility to exercise the limits of their imagination.

The construction of the works is multi-layered. We can see the flowers which are in full bloom and the ukiyoe-shunga on the women’s bodies. In addition, we can see a tape-like running patterns.

The patterns are not collaged. The tape-like paper cuts through the surface making the women’s bodies sewed tightly together in a beautiful maze of patterns.

The flowers, not becoming a part of something, maintain a desire to live and the ukiyoe-shunga is very graceful. However, the tape-like paper cuts through them without mercy.

In the past Asaba had created her ow paintings, making the modern ukiyoe-shunga into a symbol of happiness. This time around she pulled the modern women of today into her works. Modern women, together with their real life problems. Through the stitching on the surface of her paintings she connected the two conflicting entities. The happiness and pain, which revealed the problems  women are faced with in the modern society. Through these works she tried to deepen the meaning of the works.

The old woman, wearing yellow bright flowers and ukiyoe-shunga portraying a couple where the woman looks like the Goddess of Mercy is monumental. She does not attribute of mothers. She is the archetype of womanhood.

2018/10/29 ~ 11/3 Gallery Kobayashi,Tokyo

月刊アートコレクターズ2月号の特集 2019


Monthly magazine Art Collector Featured an article on Visual Simulation Aesthetics in it’s February edition. In that article I was presented .





Shunga was referred to as warai-e (laughing pictures). You look at the rabbit that is looking at the awkward scene. I hope you feel this double humor.I love Shunga because of the atmosphere of equality and freedom. So, I simulate Shunga in my woks in many ways. I think there is real merit in presenting Shunga which has been hidden on purpose in the Japanese society.

月刊アートコレクターズ2月号の特集 2018


Monthly magazine Art Collector Featured an article on Ukiyoe Artists in Heisei in it’s February edition. In that article I was presented as an artist who embodies the Ukiyoe spirit of Edo period in the present day.


浅葉雅子「MAN MADE」


162.0×162.0cm 雲肌麻紙、岩絵の具、墨、アクリル絵の具、糸


2011年11月発行 展覧会図録

優秀賞のうち浅葉雅子<落葉>は菱田春草の名作を今日の感覚から組み立て直し、新たな作品にしたもの。作者はこの手法を長年続けているが、今展出品作が最も完成度が高かった。ただ個人的には、この賞を契機にもう少し別の冒険もして、さらに一段上がった作品を見せて欲しいと思う。 (豊田市美術館館長 吉田俊英)

(練馬区立美術館主任学芸員 野地耕一郎)

130.3×194.0cm 雲肌麻紙、岩絵の具、スプレー塗料、アクリル