Motoko Sato

Motoko Sato ⁄ 佐藤素子

Profile

For Motoko Sato, whose father was the botanical artist Hiroki Sato, nature has always been about plants since she was a child. From the age of 12, she studied with a sculptor, during which time she encountered the work of Alberto Giacometti, which opened her eyes to art.
After graduating from Musashino Art University and devoting her life to art education as an art teacher in a public school in Tokyo, while caring for her parents for 14 years, she has always looked deeply into the moments of human life.
Always looking between life and death, after the death of her parents, she chose photography as a means of expression and began to roam the fields and mountains. It is also a journey to find the "something" that has enabled her to live when losing hope for life so many times. Until the day she collapses like a pilgrim, she will continue to walk and take photographs in order to bring that "something" to someone who needs it.
Achievements in 2021
Solo Exhibition
・2019 “La Resonancia” OLYMPUS PULAZA TOKYO (Tokoyo, JAPAN)
・2018 “Les Cadeaux” GALLERY JALONA (Tokyo, JAPAN)
Group Exhibition
・2021 The Museum of Nature and Man (Khanty-Mansiysk, RUSSIA)
・2020 ERARTA MUSEUM (St.Petersburg, RUSSIA)
・2020 The BID/ArtSpace (Pesaro, Italy)
・2019 SHATTO GALLERY (Los Angeles, U.S.A)
・2019 “Novosibirsk International Festival of Contemporary Photography” (Novosibirsk, RUSSIA)

植物画家の佐藤廣喜を父に持つ佐藤素子にとって、幼い頃から自然とは常に植物であった。12歳から彫刻家に師事し、その間にアルベルト・ジャコメッティの作品に出会い、芸術に目覚める。
武蔵野美術大学を卒業後、東京の公立学校で美術教師として人生を美術教育に捧げながら、14年間両親を介護した彼女は常に人間の生の瞬間を深く見つめてきた。
常に生と死の狭間を見つめていた彼女は、両親の死後、表現手段として写真を選び、野山を歩き回るようになる。それは、何度も生きる希望を失ってきた彼女が生きてこられた "何か "を探し求める旅でもある。巡礼者のように倒れるその日まで、彼女は歩き続け、写真を撮り続け、その "何か "を必要としている人に届けたいと願っている。
2021までの実績
個展
・2019 “La Resonancia” OLYMPUS PLAZA TOKYO(東京)
・2018 “Les Cadeaux” Gallery JALONA(東京)
グループ展
・2021 The Museum of Nature and Man(ハンティ・マンシースク、ロシア)
・2020 Erarta Museum(サンクトペテルスブルグ、ロシア)
・2020 The BID/Art Space(ペサーロ、イタリア)
・2019 Shatto Gallery(ロサンゼルス、アメリカ)
・2019 “Novosibirsk International Festival of contemporary Photography”(ノボシビルスク、ロシア)

Projects

From an early age Motoko Sato was not good at socialising, preferring to immerse herself in crafts such as dyeing and weaving and pottery by herself. Her aesthetic was nurtured through an understanding of nature and the world through plants, and by developing her sense of touch through the creation of traditional Japanese crafts. These unique perspectives have been with her since she was a painter.
Since taking up the camera, she has been walking through the trees and plants as if on a pilgrimage. For her, photography is a journey of embracing nature and simply praying in silence. The botanical patterns and tactile matière of her work whisper to the viewer's senses. Her work is music without lyrics, an invisible prayer.

佐藤素子は幼い頃から人と交わることが苦手で、独りで染織や陶芸などの工芸に没頭することを好んだ。植物を通して自然や世界を理解し、日本の伝統工芸品の制作を通して触感を磨くことで、彼女の美学は育まれてきた。これらの独自の視点は、画家であった時から彼女の中にある。 カメラを持ち始めてから、彼女は巡礼をするように草木の中を歩き続けている。彼女にとって撮影は自然を受け入れて静かに祈りを捧げる旅である。彼女の作品の植物的なパターンと触覚に働きかけるマチエールは観る者の五感にささやきかける。彼女の作品は、歌詞のない音楽であり、目に見えない祈りである。

In the Emptiness (2021- )
Under the influence of the cobid19, the solitude of being alone in her house without seeing anyone Motoko Sato her feel as if she was losing her sense of feeling of being alive and becoming empty. It was during this time that she came across an 8×10 pinhole camera. The empty box, with no lens and only a small hole connecting it to the outside world, seemed to her to be somewhat like herself. The soft space has neither focus nor distorted, and is gradually filled with memories and hopes.
コロナの孤独の中で佐藤素子は生きている実感を失い空虚になっていた。そんな時、8×10のピンホールカメラに出会った。レンズもなく、小さな穴だけが外界とつながっている空っぽの箱は、どこか自分に似ているように思えた。焦点も持たず歪みも持たない柔らかな空間は、しだいに記憶と希望とで満たされていく。
・Media Size: 420 x 594mm(16.5x23.4in), Image Size: 360x450mm(14.1x17.7in)
・Media: ILFORD Cotton Art Textured
・Media Size: 1570x1100mm(62x43.3in) Image Size: 870x1100mm(34.2x43.3in)
・Media: EPSON PX/MC Premium Matte Paper
・Edition: 10
・Number of works: 12 (As of 2021)
・Project progress: Ongoing (2021- )

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In the emptiness 2021_Motoko Sato_EG

La Resonancia (2016 - )
Each thing has its own color. But our eyes receive the overlapping colors due to the light source, environment and reflections. The overlapping color indicates a point in space and time. Each of these coordinates shows that she is alive there. She extracts the resonance of colors and the hidden voice of nature from the overlapping elements of this world, as if she were offering prayer music in silence.
物にはそれぞれの色がある。しかし、私たちの目は、光の色、周囲の色、反射の色など、重なり合った色を受け取っている。重なり合う色は、空間と時間の中のある点を示している。
これらの座標一つ一つが、彼女がそこで生きていることを示している。彼女は、この世界の重なり合う要素から、色彩の共鳴と自然の隠された声を、沈黙の中で祈りの音楽を捧げるように抽出する。

・Media Size: 432x890mm(17x35in), Image size: 394x700mm(15x27inch)
・Media Size: 420x594mm(17x23in), Image size: 281x500mm(11x20inch)
・Edition:10
・Media: ILFORD Cotton Art Textured
・Number of worksː 34 (As of 2021)
・Project progressː Ongoing

 La Resonancia_01

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Inner Pilgrimage 2020_Motoko Sato_EG

Dialogue Avec L'invisible (2014 - )
Motoko Sato, who once encountered Giacometti's work, felt that the sculptor's expression lies in "existence" in relation to "existence and non-existence". The black and white expression is life and death emerging between black and white, life in relation to the visible and the invisible. The opposite ones create each other's existence. This is also her life's work, as she continues to explore the space between life and death.
かつてジャコメッティの作品に出会い、彫刻家の表現が「存在と非存在」との関係上にある「存在」にあると佐藤素子は感じた。白黒の表現は白と黒との間に浮かび上がる生と死であり、「目に見えるものと見えないもの」との関係上にある「命」である。あい対するもの同士は互いの存在を創造し合う。これは、生と死との狭間を掴もうとする彼女のライフワークでもある。
・Media Size: 420x594mm(17x23in), Image size: 281x500mm(11x20inch)
・Edition:10
・Media: Japanese Traditional Handmade Paper "BIZAN"
・Number of worksː 36 (As of 2021)
・Project progressː Ongoing

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Motoko Sato at STRIPED HOUSE GALLERY in November 2020.

Blue Pilgrimage (2013 - )
Since ancient times, the blue color of indigo dyeing has been loved by Japanese people. Cyanotype is the classical technique of blue photography. She blooms these Nirvana flowers on blue silk. She pilgrimages in Shikoku every spring after her parents died. These works are the beginnings of her new pilgrimage.
古来、藍染めの青い色は日本人に愛されてきました。 シアノタイプは、青写真の古典的な技術です。 彼女はこれらのニルヴァーナの花を青い絹に咲かせます。 彼女は両親が亡くなった後、毎年春に四国の巡礼をします。 これらの作品は彼女の新しい巡礼の始まりです。
・Media Size: 35x1400mm(13x55in), Image size: 275x855mm(11x33ins.) / Edition:10
・Paper: Silk (Mount on Japanese Traditional Style Hanging Scroll)
・Number of worksː:6
・Project progressː Finished

Nirvāṇa / Manjusaka

Nirvāṇa / Manjusaka

 Nirvāṇa / Padmam

Nirvāṇa / Padmam

 Oshichi_04

a part of Padmam

a part of Manjusaka

a part of Manjusaka

Texture

Texture

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