1961年『繁殖絵画論』-小野田實 (英語版)
Painting Progenation Theory (1961)


I think that, while continuing a further expansion of the images derived from several of my most recent experimental works, I would like to give them a theoretical background.
At the end of 1956, “Art Informel” was introduced into Japan through the “Art of Today’s World” exhibition*. Since then, the Japanese art world has been dominated by the tendency toward “Art Informel” or “Action Painting.”
This tendency, which has easily been linked to the Japanese temperament, has made our painting take on the aspect of so-called "Japanese" Fauvism. In this sense, the “Art Informel” movement that originated in Europe and the United States lost the original negation and rebellion and continued on here only as a safe, officially acknowledged method.
The original purpose of including such extrinsic elements as “action” into painting as a way of innovating the image lost its primary meaning in the flood of paintings that showed only an emission of physical energy. As soon as the works of Antoni Tàpies were introduced into Japan, paintings whose surfaces looked like a wall greatly multiplied. It seems as though artists took the thickness of the surface for depth of mind. The old-fashioned dark expression, haughty street manner, heavy matière, emotionally lukewarm, gloomy atmosphere – were these all brought about by a characteristic rooted in the Japanese climate?
Some of my most recent works are a cynical critique and a jeer at those tendencies, but even in my earlier ideas I was captivated by the image of countless identical parts (these could be symbols or objects) that continue to proliferate mechanically.
Most interesting is the multitude of identical products being produced in automation factories. So, for example, vacuum tubes that are produced every day in countless quantities. Only when viewed as an infinite accumulation of tubes, separate from their being embedded in radio or television sets, can one open to the wonder of their vast meaninglessness. Once, Surrealism created a sense of wonder through the use of dépaysement [a collision of disparate objects or images]. I have tried to create a new image by giving countless identical things order.
To realize this image, I chose an infinite number of circles and lines. Since then I have referred to them as “Watashino-Maru (my circles)” and altered their size according to the linear trajectory of the laws of perspective.
One can view the picture from any direction. “Watashino-Maru” can be extended outward from any point in the picture not only to the wall and ceiling, but also to the road or car. In this way, if you continue to draw a circle anywhere, it becomes my work.
Although it was named “Painting Progenation,” it is not an organic thing like breeding; these are empty, hard-boiled and mechanical images.
In order to beat “negation” in this world it is necessary to hold out against the “meaninglessness” with the insatiable greed of eating machines. Gazing absently into the sky, I dream that “Watashino-Maru (my circles)” completely cover this sky and earth without gaps.

From Himeji-bijutsu, Vol. 1, December 1961.

* [Sekai・Konnichi no Bijutsu, organized by Tarō Okamoto and the Art Club at the Takashimaya department store in downtown Tokyo]



〇小野田實の言葉( Words of Onoda Minoru)

1964年 『ルナミ画廊 選抜展』(東京・銀座)-小野田實
(Extract from invitation letter of Select exhibition in Lunami Gallery (Ginza, Tokyo), October 21-26th, 1964)

(Answer to the question “What is the base of executions for your ideas?” at New Generation of Modern Art Exhibition, 1966)

1966年 『美術ジャーナル』-小野田實
(Art Journal No.57, April issue, published by Bijutsu Journal co., ltd. 1966)

1974『朝日ジャーナル』 -小野田實
(Asahi Journal, 1st of March, 1974, “The Word Of Cover Works 73-9r” published by Asahi news paper)

1979年「グタイと私」  小野田實
(“Special Exhibition for Yoshiwara Jiro” and letter of GUTAI, Hyogo prefectural Museum of Modern art, June 5-28th, 1979)

1988年 『グランクール』 小野田實
(From Interview for “Grand Court” booklet edited by Town Himeji)

1990年 石彫モニュメント制作にあたって 小野田實
(At making a stone relief monument, 1990)

1997年「芦屋市展1948-1997」 小野田實
(“Exhibition in Ashiya city , 1948-1997” published by Ashiya Art Association and etc. 1997)

1963年 「北條の五百羅漢・その1」写真・文 小野田實

(Sansai ,May issue, published by Sansai-sha co., ltd. 1963)

〇小野田實のインタビュー オーラルヒストリー
(Oral history-Interview with Onoda Minoru)
2004年姫路市立美術館企画「小野田實の世界展」 イーグレひめじ  ギャラリートーク

〇小野田實について書かれたものなど(Articles written on Onoda Minoru)

Bijutsu-techo (art magazine) published by bijutu shuppan co., ltd., July issue, 1964
[Yoshie YOSHIDA, art critic・Taro Nomura,art critic]

“Solo exhibition of Minoru ONODA” at Sanyo Shopping Center in Himeji. 15-20th of April, 1965

1965年 『ダイワ俊英シリーズ/第4回』 赤根和生(美術評論家)
The 4th of DAIWA select series August of 22-31th, 1965
“Macro and Micro”Text by Mr. AKANE Kazuo,

1965年-「マル」の行為者-『現代美術』6号 -赤根和生(美術評論家)
Feature article “The man of tomorrow” 4 ONODA Minoru, June, 1965
“Maru Actor” text by Akane Kazuo, art critic
Gendaibijutu (art magazine) published by Sansai-sha co., ltd., June issue, 1965

1966年 ダイワ俊英シリーズ-赤根和生(美術評論家)
The 4th of DAIWA select series August of 22-31th, 1965
“Macro and Micro”Text by Mr. AKANE Kazuo,

季刊 熟年の窓 no.3 新日本ジャーナル (there’s no English translation)

1988年 アートカイト-
Art kites, 1988, text from book “Art kites, Kunstdrachen, 1988,
 published by Osaka German Culture Center

2004年創造精神 変幻自在-三上貴美男
Creative Spirit ! Kaleidoscopic !
"The thing which I have never seen ".
"Even now I can start from Zero every time my style changes "." Do what nobody ever done "
[KOBE newspaper. Mikio MIKAMI]

2006年 文化情報・姫路12月号(there’s no English)

「私のマル」-小野田實とその作品  姫路市立美術館学芸員 平瀬礼太
"Watashino-Maru (My Circle)”- Minoru Onoda and his works
Creative spirit still vividly travels. Eye Says“art rambling” of July article, Mainichi Shimbun , July 11th, 2012

2012年 今 「マル」の時代 ! 朝日新聞
Now ,「Maru」time ! Exhibition at Tokyo and NY ! [ASAHI newspaper. Takumi Fujii]

paitings of propagation(Before correction)

Minoru Onoda

Recently I have gotten a new image through my experimental works .So I would like to give thetheoretical background of the image by enlarging it.
In the end of 1956 “Art Informel”was introduced into Japan througn the exhibition named“Today ’s Art of the world”. Since then Japanese art-world has been occupied by the tendency toward the movement of“Art informel”or“Action Painting”.This tendency whichhas been easily tied to the temper of japanese has made our painting take on the aspect of so-calle“japanese”Fauvism. In this sence“Art Informel”,which originated in the Occident, lost the original meaning of the denial or the rebel, continued only as an officially acknowledged, safe method.“Action Painting”, which introdused the action as a different nature as the way of innovating image, lost the primary meaning in the flood of paintings that only showed the emission of physiological energy. No sooner the works of Antoni Tapies had been introduced info Japan than paintings whose surfaces lookd like the wall increased. It seems as thougn artists took the thickness of surface for the depth of mind.The old-fashioned dark expression putting on airs of higher vagabond, the heavy matiere, emotional lukewarmness, gloomy atmosphere; were they all brought about by the characteristic based on Japanese climate?
My late works were cynical criticism and sneer to those tendencies. Then one image that innumerable same things mechanically propagate, chermed my idea.
What intereated me most was mass production in the automated factory; its countless sameness.
If you see the vacuum tubes, which have been produced every day in great quantity, as just only innumerable accumulation of material, without recognizing their purpost of being used for receiving sets, you must feel astonished by the enormous amount of meaninglessness.
Once surrealism used depaysement as a method of causing surprise. On the other hand, I have tried to get a new image through giving order to the innumerable same things.
In order to realize this image I have selected the way of using innumerable circles and lines.
Since than I have called the“Watashino-maru(my circle)”. Those sizes will change according to the lines under the perspective order. You are able to see the picture from all directions you like. “Watashino-maru”will extend out of the picture not only to the wall and ceiling but to the road or the car. My circle, wherever I paint it, will become my work. So I gave the name “Paintings of Propagation”to them, however, as a matter of fact, they did not have such organic impression as propagation, but had empty, hard-boiled, and mechanical image. With the greedy mind of eating machines, it is necessary to stand the “senselessness”so as to thrust“Non”to the World new we are living in.
Looking up at the sky vacantly, I dream this sky and the world will be filled completely with “Watashino-maru”.

from (“Himeji-bijyutu”vol.1, December 1961)
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