Born in Nagoya, Japan 1974
Education
M.F.A 2002 Studio Art / Ceramics Arizona State University
B.F.A 1999 Studio Art / Ceramics Kansas City Art Institute
Represented By: Trinity Gallery
Awards / Honors
2003 Contemporary Forum: Phoenix Art Museum - Arizona Artist Material Found Grant
2002 Graduate Tuition Scholarships (1999 - 2002), Arizona State University
2001 Arizona Artist Guild Scholarship: 1st Place
1998 Best of Show - Annual M.F.A. Summer Exhibition, Arizona State University, Harry Wood Gallery
Competitive Scholarships (1996 - 1999), Kansas City Art Institute
Solo Exhibitions
2003 Nobuhito Nishigawara, Udinotti Gallery, Scottsdale, AZ
2002 Nobuism: Thesis Exhibition, Harry Wood Gallery, Arizona State University, AZ
1997 ***Cockroach - three series of installations, The Banff Center for the Arts, Alberta, Canada
Group Exhibitions
2003 Ceramic Exhibition, Udinotti Gallery, Scottsdale, AZ
The Wichita National, Juror ó Josh Deweese, Wichita Center for the Arts, Wichita, KS
ANA 32, Juror ó Richard Notkin, Holter Museum of Art, Helena, MT
Akio Takamori and Nobuhito Nishigawara, Garth Clark Gallery, New York, NY
Clay: Making Connections, Juror - Chris Staley, Roswell Museum and Art Center, Roswell, NM
Hundreds of Cups, Santa Fe Clay Gallery, Santa Fe, NM
Shared Passion - Sara and David Lieberman Collection (catalog),
Ceramic Research Center, Arizona State University, Tempe, AZ
From the Neck Up (catalog), Garth Clark Gallery, New York, NY
Clay from the Permanent Collection, Ceramic Research Center, Arizona State University, Tempe, AZ
2002 From the Ground Up XXI, Juror - Doug Jeck, The Richardson Gallery, Las Cruces, NM
Contemporary Realism, Juror - Bill Lykins, Mesa Contemporary Arts, Mesa, AZ
Formation and Deformation, Udinotti Gallery, Scottsdale, AZ
Faculty Exhibition, Mesa Community College, Mesa, AZ
ASU Graduate Ceramics, University of Texas, TX
2001 Arizona Artists Guild Scholarship Winner, Blue Willow Gallery, Phoenix, AZ
Clay Sculpture, Yuma Fine Arts, Yuma, AZ
RE/Surface, Marshall Arts Gallery, Scottsdale, AZ
1999 ASU Graduate Ceramics, Central Arizona Community College, Coolidge, AZ
Thesis Show, Kansas City Art Institute, Kansas City, MO
Bibliography
2003 The New York Times, ëFrom the Neck upí Art in Review by Ken Johnson, Aug. 8
Scottsdale Life Magazine, June, pg. 82-3
Phoenix Art Museum: Contemporary Forum Newsletter, spring issue, front page
Herberger College of Fine Arts: Spotlight, Spring Issue, class notes
The CACtus Paper, Feb.19, pg.8
Arizona Republic - Rep. Arts, Feb.6, pg.43
The Figure in Clay, Video, City of Mesa, channel 8
Arizona Republic - Rep. Arts, Jan.16, pg.34
Shared Passion: Sara and David Lieberman, catalog, pg. 11 and 32 (plate 16)
2002 Working with Clay: 2nd Edition, by Susan Peterson, Textbook
Ceramics Monthly - Up Front, October, pg.16
The MAC Vision - Mesa Arts Center, autumn issue, pg. 2
Apache Junction/Gold Canyon Independent, July 30, pg. B1
2001 Art Talk, November
Arizona Republic - Rep. Arts
Current Employment
Adjunct Faculty, Mesa Community College, Mesa, Arizona
Adjunct Faculty, Central Arizona College, Apache Junction, Arizona
Nobuhito Nishigawara
Artist Statement
My work is figurative. The female is a beautiful and mystical form in my life. The anatomical forms of womanís body initiate my curiosity. Each part of womanís body is beautiful. I view womanís body parts as forms. I am investigating new ways those beautiful forms interact with other forms. I am not trying to figure out the emotions or feelings of a woman, but contemplating these mysterious yet beautiful body parts.
My influences come from nineteenth century Italian figurative stone carvings. I am attracted to the humanistic qualities created with a dense stone. I work with the body to recreate the humanistic qualities in an abstracted form. Physically my figures could not be alive, but I try to create life in each piece. Even though each piece is made from white porcelain their skin looks soft and fleshy and they each evoke an emotion through facial expression. The faces have blank stares creating interaction with the viewer. It is up to the viewer to decide the emotion of the piece.
|
|
