Fuyuko Matsui | 松井冬子 (b.1974, Japan) - Becoming Friends with All the Children in the World. Color pigment on silk mounted on paper with metal foil backing, 181.8×227.8 (2002) [Fuyuko Matsui on ARTchipel | Tumblr Monday with darksilenceinsuburbia] View high resolution

Fuyuko Matsui | 松井冬子 (b.1974, Japan) - Becoming Friends with All the Children in the World. Color pigment on silk mounted on paper with metal foil backing, 181.8×227.8 (2002)

[Fuyuko Matsui on ARTchipel | Tumblr Monday with darksilenceinsuburbia]

Fuyuko Matsui | 松井冬子 - Immediately Turning Gentle and Falling Asleep. Color pigment on paper, 4parts 168×102 (2004) [Tumblr Monday with darksilenceinsuburbia] View high resolution

Fuyuko Matsui | 松井冬子 - Immediately Turning Gentle and Falling Asleep. Color pigment on paper, 4parts 168×102 (2004)

[Tumblr Monday with darksilenceinsuburbia]

Fuyuko Matsui | 松井冬子 - Demanding Proof of Being Treated Kindly for as Long as Possible. Hanging scroll, color pigment on paper, 40×50 (2004) [Tumblr Monday with darksilenceinsuburbia] View high resolution

Fuyuko Matsui | 松井冬子 - Demanding Proof of Being Treated Kindly for as Long as Possible. Hanging scroll, color pigment on paper, 40×50 (2004)

[Tumblr Monday with darksilenceinsuburbia]

Fuyuko Matsui | 松井冬子 - Continuous Failures in the Collision of Fragments. Colour pigment on silk, 64.5x90cm (2007) [Tumblr Monday with darksilenceinsuburbia] View high resolution

Fuyuko Matsui | 松井冬子 - Continuous Failures in the Collision of Fragments. Colour pigment on silk, 64.5x90cm (2007)

[Tumblr Monday with darksilenceinsuburbia]

Fuyuko Matsui | 松井冬子 - Scattered Deformities in the End. Colour pigment on silk, 124 x 96.5 cm (2007) [Tumblr Monday with darksilenceinsuburbia] View high resolution

Fuyuko Matsui | 松井冬子 - Scattered Deformities in the End. Colour pigment on silk, 124 x 96.5 cm (2007)

[Tumblr Monday with darksilenceinsuburbia]

Tumblr Monday 30 →

Thanks to darksilenceinsuburbia for this Tumblr Monday to share with us one of her favorite artists, Fuyuko Matsui, specializing in Nihonga paintings and whose subject matter in her own dark and troubled mind, as well as Japan’s ghostly past. As Matsui says while her interview with Culturekiosque: “I don’t like sweet and cute art. Japanese art nowadays is like that, but if we think in centuries, in the Kamakura period for example, it was scarier, more ghostly. I want to return to that taste in my art.” Please enjoy!