copyright: Andreas Sibler
copyright: Andreas Sibler

1973  born in Japan

since 1991 lives and works in Hamburg, Germany




University of Fine Arts of Hamburg, Germany, Diplom for Fine Art

by Prof. Norbert Schwontkowski, Prof. Werner Büttner, Prof. Michael Diers


University of Applied Sciences, Hamburg, Germany, Diplom for Design



2019 Ausstellungsstipendium, Sparkassen-Kulturstiftung Stormarn

2014  Ausstellungsstipendium, Cafe Royal Kulturstiftung

2011  Scholarship from Japanese Government Overseas Study Program for Artists

2008  Else-Heiliger-Fonds der Konrad-Adenauer-Stiftung      

2006  Stipendium des DAAD (Deutscher Akademischer Austausch Dienst)

2005  Leistungsstipendium für Ausländische Studierende, Hochschule für Bildende Künste Hamburg




PICTURING, B-Part, Berlin by Künstlerförderung der Konrad-Adenauer-Stiftung (Solo)

PICTURING, Galerie im Marstall, Ahrensburg (Solo)


FEELINGS, Pinakothek der Moderne, München

Salon der Gegenwart, Hamburg

Griffelkunst-Vereinigung Hamburg e.V.

Still, Loock Galerie, Berlin (Solo)




CREATING SPACE, BMWStiftung Herbert Quandt, Berlin



Sammlung Broska, Der Zweite Blick, Kunsthaus, Wiesbaden


10x10, Konrad Adenauer Stiftung, Berlin


Im Licht, Galerie Vera Munro, Hamburg (Solo)

the mysterious device was moving forward, Longhause Projects, N.Y. 

Kunstepedemie - Büttner & Scolari, Feinkunst Krüger, Hamburg


DOMANI, NACT The National Art Center, Tokyo

ANKOMMEN, KUNSTWERK Sammlung Alison und Peter W. Klein, Eberdingen-Nussdorf

Beyond Silence, SCAI THE BATHHOUSE, Tokyo (Solo)

Nur Hier, Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Bundeskunsthalle, Bonn


Neue Arbeiten, Galerie Vera Munro, Hamubrg (Solo)


HIGH IDEALS & CRAZY DREAMS, Galerie Vera Munro, Hamubrg

Hikarikage, 1223 Gendaikaiga, Tokyo (Solo)

Elle Part3 Centre Pompidou, Paris

ANATOMIE, Konrad-Adenauer-Stiftung, Berlin


Windhauch, Galerie Vera Munro, Hamburg (Solo)  

Twinism, Kunsthaus, Hamburg, Twinism, AD&A Gallery, Osaka      


Hitorigoto, SCAI The Bathhouse, Tokyo (Solo)

Lob des Schattens, Else-Heiliger-Fonds, Konrad-Adenauer-Stiftung, Berlin (Solo)  

EIN ÜBERBLICK, Konrad-Adenauer-Stiftung, Berlin


5-7-5, Kunsthaus, Hamburg  

Lebe wohl, Kunsthaus, Hamburg  

Nachhall, Galerie Vera Munro, Hamburg (Solo)  

eleven masters from Hamburg, The German Ambassador’s Residence, London  

Gestern Heute Übermorgen, Westwerk, Hamburg  


INDEX06, Kunsthaus, Hamburg  

ALLES IM FLUSS, Altonaer Museum, Hamburg  

Plattform#3, Kunstverein, Hannover  

top to bottom end to end, Magazin1 der ÖBB, Wien  

wem vertrauen, plan b - kunstraum, Hamburg (Solo)


Collection (short list)      

Centre Pompidou, Paris

Sammlung Zeitgenössischer Kunst Der Bundesrepublik Deutschland

Junge Kunst im Bundesministerium für Umwelt, Bonn

Jil Sander Collection, Hamburg

Burger Collection, Zurich / Hong Kong

Guttman Collection, New York

1223 Gendaikaiga-Contemporary Painting Collection, Tokyo

Arario Museum, Seoul


Piece of reality

The world as an indeterminable, uncertain reality. Take a group of people in a forest, in a public place or in the park; a girl on a footbridge; a deserted, desolatelandscape. When I put them into a painting, I merely hint at time, place, action - thus allowing viewers to look more closely and seek their own personal level of reality. Free from subjective concerns and stripped of colour. In my paintings, emotions, ordinary contradictions and human frailties are transformed into gentle, quiet, soft, resonances. The human condition I depict comes from mypersonal observations rather than what is fed to us by the media.



The resonances appear as a blur which abstract themselves from time and can even span past and future within itself : an extended moment, a present lost in reverie. The source of the resonance is unclear to allow a dreamlike, displaced reality. A sound - quiet but present. What is seen becomes blurred again, rendering the images peculiarly indefinite.



I came to the conclusion that colour imparts a powerfully shifting impact on a painting – it can radically change the effect and meaning – and this disturbed me. When we see people, we automatically start to interpret. If I depict people in colour, it is immediately much more of a statement and quickly creates the impression of being overloaded. That is why I have been stripping colour further and further back, or rather, fading it out. 


Subtle combined differences 

Small canvases are more open whilst portraying blurring, intimations, faintness. With big paintings, it is different. Large surfaces require a self-contained world be depicted. It is a challenge to bring drawing and painting together – to get the balance right between the two techniques. During this unending process of working with reduction, nothing is to be focused and no moment robbed of its continuity. So, looking again and again, you will find – or think you find - images you might not have seen at first glance. I invite my viewers not to trust their eyes too quickly.  Take time to see clearly; give space to each look at a painting for a second or third reading of a scene. Behind frivolity lies earnestness, behind lightness there is seriousness. Nothing is static, stable, nothing stays as it seems to be.



What I show in different formats in painting is always a part of the many levels of reality. These levels need each other; idyll and danger, good and evil - their existence is intertwined. Something is amiss if one side is too strong or if one interpretation predominates. So my aim is to captur parallelity of life through in-betweens. 


Miwa Ogasawara