セバスチャン・クフィックは、建築、光、そして人の不在する空間を主題に制作を行うフランス人画家である。Art San Gallery による  Shikishi Art Project  の一環として、彼は色紙という支持体に油彩で向き合うことを選んだ。油彩は、伝統的には色紙と結びつけられてきた技法ではない。 本インタビューは、この試みを「完成された結論」としてではなく、現在も進行中のプロセスとして記録するものである。支持体としての色紙が持つ抵抗や可能性、そしてそれが絵画実践にもたらす変化についての、慎重で持続的な探究が語られる。 初めて色紙を手に取ったとき、どのような印象を受けましたか？ この支持体には、とても強い軽やかさを感じました。同時に、素材としての「貴重さ」も強く意識しました。斑の入った紙が、太陽光やアトリエの光を受けてきらめいていたのをよく覚えています。 制作に入る前、色紙に対して何か先入観はありましたか？ 色紙は、縦にも横にも読むことのできるフォーマットです。今回の展示で用いたものは、ほぼ正方形に近い形でした。私はすぐに、色紙を「思考の

Interview with Sébastien Coueffic Sébastien Coueffic is a French painter whose work explores architecture, light, and spaces devoid of direct human presence. As part of the Shikishi Art Project  at Art San Gallery, he chose to approach the shikishi through oil painting—a medium rarely associated with this support. The interview that follows documents this experience as an ongoing process: a careful exploration of the support, its resistances, its potential, and the shifts it

Ortaire de Coupignys Arbeiten entziehen sich einer eindeutigen Einordnung. Seine skulpturalen und gemalten Fische in metallenen Aluminiumdosen operieren im Zwischenraum von Assemblagekunst, Pop Art, postmoderner Objektkunst und zeitgenössischem Design. Sie unterlaufen sowohl die Konventionen der Malerei als auch jene der Skulptur und Objektkunst. Es handelt sich weder um reine Assemblagen aus gefundenen Objekten noch um klassische Trompe-l'œil-Arbeiten, die Realität imitieren

Lo que destaca por encima de todo es la maestría compositiva de Violeta Monreal. Cada shikishi es una estructura cuidadosamente equilibrada, donde papeles rasgados, piedras y fragmentos de plantas establecen las formas principales —acantilados, ríos, horizontes— mientras que los elementos más pequeños crean ritmo y detalle. A menudo, una piedra real o una planta prensada se colocan en un punto decisivo, convirtiéndose en el ancla de toda la composición.

What stands out above all is Violeta Monreal’s compositional mastery. Each board is a carefully balanced structure where torn papers, stones, and fragments of plants establish the main forms—cliffs, rivers, horizons—while smaller elements create rhythm and detail. Often a real stone or a pressed plant is placed at a decisive point, turning it into the anchor of the whole composition, and small accents of color—like a little red sun or a small flower—act like sparks of life.

そがひろし は、ぶつだん パネル を つかい、グリッド や はな の もよう によって いのち の じゅんかん を えがきます。 「ラスコー」 と 「きはい」 に みちびかれた さくひん は、みえない そんざい と これから あらわれる ちから を しずかに つたえます。

Hiroshi Soga transforms traditional butsudan altar panels into poetic paintings where grids, fragments, and flowers echo cycles of life and impermanence. Guided by the ideas of “Lascaux” and kihai, this article explores how his work invites us to sense an unseen presence.

French painter and pastel artist Yves Millet has long been inspired by the delicate balance between abstraction and evocation. His recent series of works on Japanese shikishi boards continues this exploration, offering a unique dialogue between European pastel traditions and East Asian aesthetics.

In the refined setting of the Delta Sky Club Lounge at Boston Logan Airport, French artist Ortaire de Coupigny offers travelers an unexpected visual encounter. Mounted along a lounge wall, his installation of sardine-can sculptures introduces a moment of quiet intrigue within a space defined by movement.

Haruka Miyamoto presents a series of sumi ink drawings on traditional Japanese shikishi boards, featuring the Xerces Blue and Morant’s Blue butterflies. These works continue her exploration of extinct species, a theme she also pursues through sculpture.

Art San Gallery is pleased to announce the summer exhibition Îles du Ponant featuring recent oil pastel works by Clotilde Aksin-Frappier. The exhibition will take place from July 29 to August 10, 2025, at CIPM Marins & Capitaines, La Grée, on Île d’Arz, situated in the Gulf of Morbihan, southern Brittany.

If you're attending the Interceltic Festival of Lorient 2025 (August 1–10), don’t miss a unique opportunity to experience an exceptional art exhibition in Brittany by French painter Christian Halna du Fretay. Now open in Lanester, the exhibition Éblouissements fugitifs (Ephemeral Dazzlements) unfolds across Galerie La Rotonde and the Town Hall of Lanester, offering a rich dialogue between mixed-media works on paper and large-scale paintings on canvas.

We’re delighted to share that Olivia Lomenech Gill, an artist we admire greatly at Art San Gallery, has been awarded the 2025 Carnegie Medal for Illustration. The announcement was made yesterday at the Cambridge Theatre in London, where Olivia was recognized for her exceptional illustrations in Clever Crow, written by Chris Butterworth and published by Walker Books.

At Art San Gallery, we are proud to present the work of French painter Sébastien Coueffic, whose refined sense of structure, color, and atmosphere turns the ordinary into something quietly monumental. His paintings capture rooftops, façades, and fragments of urban life—not as documentation, but as carefully constructed harmonies of light and form. Rooted in figurative painting, Coueffic’s approach is shaped by a deep understanding of modernist color theory, structural clarity

Opening July 11, 2025 – Art San Gallery, Gujo Hachiman, Gifu, Japan Art San Gallery is proud to present the first solo exhibition in...

We are proud to share the exciting news that Olivia Lomenech Gill has been shortlisted for the 2025 Carnegie Medal for Illustration, one of the UK’s most prestigious awards celebrating excellence in children’s book illustration. Winners will be announced on June 19, 2025, at a ceremony at the Cambridge Theatre, London.

This life-size work, created by Ortaire de Coupigny using wax and noir de fumée , is the result of a deliberate process blending...

It’s been a year and a half since we launched Art San Gallery — we hinted at a mysterious destination hidden in the name itself.

Few artists manage to blur the lines between sculpture, painting, and conceptual art as seamlessly as Ortaire de Coupigny.

Clotilde Clotilde Aksin-Frappier’s approach to oil pastels demonstrates the medium’s full potential as both a painterly and graphic tool.