去る6月11日、スペイン南部アンダルシア州の都市マラガにて、モンテッソーリ協会との共同主催により、ソニア・カバジェーロは自身が新しく設立したモンテッソーリ?  美術学校および昨年出版した本? 「英題：Japanese Art and Culture to Children Vol.I」の紹介を行った。

イベントはアンダルシアの全てのモンテッソーリ教育機関が参加するモンテッソーリ協会の協力のもと開催され、会場となったマリア・モンテッソーリ インターナショナルセンターは現在小学部と中学部が設立されている。

 

ソニア・カバジェーロは上述の本「英題：Japanese Art and Culture to Children Vol.I」とその中の作品の制作過程が受講可能なバーチャル授業を紹介しながら、自身のモンテッソーリ美術学校が今夏一般向けに提供する子供向けのワークショップの一部を当日参加した子どもたちに教えた。

 

午前と午後に分けて行った計4回のワークショップには様々な年齢の子どもたちが参加し、午後の部では特別に保護者とプロフェッショナルに向けたワークショップも行われた。

また、中学生にはソニア・カバジェーロ最新の書籍である「言霊」を紹介した。東洋の価値観をテーマにした本書はスペインを含む西洋の教育における学びを補完するきっかけとして、特に私立中学校の教材として推奨されている。

 

幅広い年齢の子どもたちが参加できる機会を作るため、午後の最後のワークショップにはさらに小さな子どもたちが保護者同伴のもと参加した。

 

最後にソニア・カバジェーロによる本の署名と参加者との写真撮影を行い、イベントは大盛況のうちに終了した。

 

参加者からのコメント：

「本物の芸術家から心のこもった、楽しい時間を共有していただきました。とても快適にワークショップに参加することができました。貴重な体験と穏やかなひと時をありがとうございました。」

 

イベントで行われたワークショップはソニア・カバジェーロ モンテッソーリ美術学校が今夏、一般向けに開講するオンライン授業にて誰でも受講することができる。

&

～創造力は無限であり、不可能はない～

 

仏教の教えである「空」という言葉は私の母国語であるスペイン語への翻訳が困難な日本語の一つである。説明するならば、空間に固定的実体は「無い」が無限の可能性が「存在している」と言えるだろう。

私が初めてこの言葉を耳にしたのは２０年以上も前のことだ。当初、この短い言葉を理解することは容易ではなかった。しかし次第に、この空間が無であるがゆえに、創造力や様々な力を生み出すエネルギーに満ち溢れていると理解できるようになった。

また、「空」という言葉の意味は「禅」と密接な関わりを持っている。サンスクリット語で「空」を表すシューニャターには形を成さない創造の精神が宿り、すべての力の源であると言える。実際、現実社会において私たちはあらゆる可能性に形を与え、創造し続けている。

さらに、「空」を芸術的な観点から理解しようとした場合、その言葉の意味は広がりを増す。例えば建築の世界における様々な要素や空間は、創造により形づくられたとき、私たちの心を揺さぶる。芸術世界での「空」は心の奥に潜んでいる無数の選択肢を呼び起こし、インスピレーションを与え、時には安らぎなどの感情を生み出す。はたまた、脳裏に思いを巡らせ、集中力や癒しの力を与えてくれるのである。

 

まっさらなキャンバスを前に座るとき、私は自分が形にしたいものがはっきりと見えることもあれば、そうでない場合もある。そんな時、私は目を閉じ、頭の中に潜んでいるすべてのアイディアを引き出す作業に意識を集中させる。時にはまっさらなキャンバスから、時には一塊の粘土や一枚の金から、私はその可能性に形を与え、それが作品となる。建築家や作家などあらゆる芸術家にとって、無が生み出す可能性は無限である。それが「空」の本質と言えるだろう。

 

My new book KOTODAMA 言霊. El Corazón de Japón, Arte y Cultura.

 

 

www.soniagcaballero.com


contact@soniagcaballero.com

 

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ソニア・カバッェーロ

油絵教室・風景画

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El nacimiento de esta práctica se remonta al VII d.C. Su plasticidad y espectaculares acabados causaron furor y su empleo se extendió rápidamente por toda Asia. Cuando los europeos la descubrieron cayeron presa del influjo asiático y la corriente orientalista recorrió las cortes más influyentes. El urushi se dio a conocer en Europa como «laca» y no tardó en hacerse muy popular entre los burgueses más modernos.

Un producto, múltiples acabados

Sorprende la proliferación de técnicas que hubo alrededor de la laca. A cada cual más compleja, ofrecen acabados tan diferentes como espectaculares. La laca en capas es la técnica más antigua y, también, la más sencilla y económica. Se realiza por superposición de capas que se van puliendo. A finales del siglo XIV, gracias a unos regalos del Emperador Yung-lo, llegó a Japón la técnica de la laca tallada o Chositsu. Cuando la laca se había secado, se procedía a tallarla para crear superficies más ricas y complejas, habitualmente con motivos naturales.

La más conocida y compleja, creada por los artesanos japoneses, es la técnica de la laca espolvoreada o maki-e. Consistía en lacar un objeto en oro para, después, dibujar con finísimos pinceles motivos florales y naturales en colores muy contrastados con el fondo. Esta técnica del maki-e fue la que cautivó a los europeos que desembarcaron en el país del sol naciente. Cuando esos diseños llegaron a Europa, de inmediato se convirtieron en objetos muy codiciados.

La laca es de origen natural y es el resultado de la mezcla de secreciones de insectos o plantas y alcohol.

Algunas de sus obras han tardado más de 6 meses en acabarse, pues el proceso de lacado es muy meticuloso, lento y complejo. Eso las convierte en objetos muy valiosos.

Sus creaciones con urushi son piezas icónicas que rinden homenaje a Japón desde el minimalismo y la tradición del diseño europeo. Sorprende cómo dialogan estilos tan distintos. El resultado es espectacular.

Ha creado una colección de obras fusionado urushi con oleos, oro y platino en una propia técnica el “Kourinhaku-oil” cuya fuerza y dramatismo primitivo son indiscutibles.

Aquí está la técnica de “Kourinhaku-oil”.

No puedo dejar de mencionar a Shibata Zeshin, un artista japonés de urushi, pintor y artes gráficas de finales del período Edo y principios de la era Meiji. Se le ha llamado “el laquador más grande de Japón” y procedía de familia de artesanos. Muchas de sus obras de la época fueron pinturas de abanicos y sus famosas cajas tipo joyeros.

Zeshin ha ejercido una gran influencia en mi obra como en eclipse , su técnica de arañados de urushi llevada al oleo en esta obra.

También sus cajas y joyeros como en “Twilight”.

Otras obras en las que he utilizado Urushi:

Obra con Urushi y oro presentada en Bunkamura 2019.

Obra con Urushi y oro presentada en Bunkamura 2019.

 

Influencia de Zeshin en la Colección Acuarelas. El abanico es de una colección nueva que empezó el año pasado de acuarelas.

Obra con Urushi y oro presentada en Bunkamura 2019.

Obra con Urushi y oro presentada en Bunkamura 2019.

Estos murciélagos son los que hay en mi caja de “Twilight” y también unas libélulas y mariposas de Zeshin.

Su caja de Twilight está hecha en plata, mariposas, murciélagos y libélulas.

Las olas negras de la obra “Eclipse” tienen su origen en esta caja de Zeshin. Sonia GCaballero fue a ver la original en el 2012 en el museo de Mitsui en Guinza. Sus obras fueron tan impresionantes que surgieron varias piezas. Las dos que he mencionado y otras dos mas :

https://www.soniagcaballero.com/portfolio/hair-slide-12-months/

https://www.soniagcaballero.com/portfolio/autumn-dragonflies/,

esta obra tarde cuatro años en terminarla. No la pude finalizar hasta después de mi visita a la exposición de Zeshin. Es uno de los artistas japoneses que mas ha traspasado todas las fibras de mi corazón.

Obra con Urushi y oro presentada en Bunkamura 2019.

www.soniagcaballero.com

Finding a form of expression is not easy.

Finding the space which feels that we have inside finds a format which define ourselves, can take us a lifetime. Sonia G. Caballero found it in Japan, specifically with the technique of Kourinhaku-Oil.

The use of gold has been much appreciated in Japan in many fields, not only in its traditional use in jewelry, also in architecture, kimonos, in everyday items or in art. Not only its value is appreciated, but its delicacy and its strength, providing a unique character and it is a brand that defines the Japanese origin of a work. It is a value full of elegance.

To understand the meaning of the word Kourinhaku-Oil we must understand something of the History of Japanese Art. We must go back to the Rimpa School, consolidated by the brothers Ogata Korin and Kenzan, which has its hallmark in the use of gold.

The word itself is a condensation of words such as light, Rimpa School, thin sheet of metal … there is a variant of the use of gold, platinum, silver fused with European oil and Urushi, the traditional Japanese lacquer. The result of all this mixing and fusion is a series of creations such as those that arise from the hand of Sonia G. Caballero, unique creations of beauty with a distinctive seal in art. When it is increasingly difficult to find something different in the art world, here we have something unique.

A technique created by Sonia G. Caballero that fuses techniques from the East and the West, in which the beauty of the natural is expressed in harmony with the brightness of precious metals, the colour of oil and the sobriety of Urushi, also highly appreciated and Valued in Japan.

When you find your way of expression, no matter the time or place. What emerges travel in the same way through time and space, as in Sonia G. Caballero’s work. And in Romero‘s environment everything that happens is causal, and the incorporation of the Madrid artist, we are sure that it will be a great asset for our international network.

 

www.soniagcaballero.com


contact@soniagcaballero.com

Telephone. +81 80-4850-3014

Meet Romero Premium Networking’s New Partner:
SONIA G CABALLERO, when Asian and Western art merge together.

As a blow of fresh air, Sonia G Caballero has made an entry in the Romero corporate environment, as usual, thanks to a personal recommendation of our Premium Networking. And, of course, only one thing crossed my mind after meeting her: Romero must project this talent along with her personality to the world!

In the April issue of ROMERO MAGAZINE we made an extensive interview in which she tells us about her beginnings and pictorial influences.

 

As has become a usual practice in Spain, it is difficult for local artists to triumph abroad at first before they do in our own country, though things are certainly changing – and for good.

Sonia G Caballero is a woman, and also an artist from head to toe, who spent a summer in Japan when she was 21, taking advantage of the fact that her father was there on a business trip and a year later, once she finished school, she returned to that country for love – and there she stayed.

And her artistic vocation arose in the land of the Rising Sun ever since. With remarkable success, her art has been exhibited in prestigious galleries such as Bunkamura Gallery in the special ward of Shibuya, where Tokyo’s most fashionable and luxurious shopping malls are.

With great determination, she learned the Japanese language to get to know the Japanese society better. And, on a trip to Kyoto in 2000, the gardens and the Golden Temple of Kinkaku-ji caused her such sensory impact that greatly influenced her when painting with gold and other precious metals ever since.

The variety of artistic techniques used (Japanese fine art combined with classical traditional European ones) have given her work a unique and genuine character.

Romero is managing the digital communication plan of Sonia G Caballero since March of this year with a very clear objective: that of promoting the brand internationally so it can gain more visibility, a higher brand value and access to a wider audience than the one it currently has (Japan and United Arab Emirates). And, on a second phase through Romero Premium Networking, generating more business in Spain and other international markets. How are we going to pull this off? By creating opportunities such as private sales, exhibitions and exclusive events for our local and international partners, as well as those events hosted by Romero. Because Romero does fulfill its purposes and is fully committed to its partners by sharing its corporate environment so a long-lasting business relationship is established as a result.

We hope to provide Sonia G Caballero with all our know-how and expertise so she can achieve all her goals.

 

www.soniagcaballero.com


contact@soniagcaballero.com

Telephone. +81 80-4850-3014

At a time when everything seems homogenized and what is personal costs more, particularly in the art world, many times we must ask ourselves what makes us choose between a work and another, what leads us to buy a painting or another. Several artists currently use similar techniques, personal styles that remind us of the influence of past times.

And yet, there is something unique about the work of Sonia G caballero: a very personal fusion between eastern and western techniques and materials, as well as the approach to a variety of styles from a self-taught and free experience. This is something that can be appreciated in her seven collections, from the very Japanese as is the Sumi collection, based on the lacquer technique, to the Platinum collection, based on materials such as platinum and gold, or those with more western touch such as the oil works on canvas.

 

Her own personal experience is noted on that diversity and eclecticism. When she was a child, her grandfather used to take her to the Prado and Reina Sofía museums. There she was impressed by Picasso’s Guernica, Goya’s Majas or Murillo’s La Piconera, as well as by Goya’s dark paintings and those deformed horses that she never liked in her childhood.

She grew up with the retina full of those images, capturing their essence. At 23, she traveled to Japan to stay in that country. As a matter of fact, it was in Japan where she embarked on a particular journey through all the wonderful Japanese art. The lacquer artworks, as well as those wonderful ones with precious metals, had such a tremendous influence on her way of appreciating art that she had to try for herself.

And everything has worked out fine for the artistic proposal by Sonia G Caballero, who is making a real difference in the art world. A form of expression that never stops increasing in value and that has shared the same room with legends such as Picasso, as was the case at the embassy of Japan in 2014 and 2015.

 

She is an artist worth betting on with a great career full of opportunities for growth ahead of her.

 

www.soniagcaballero.com


contact@soniagcaballero.com

Telephone. +81 80-4850-3014

The Spanish artist tells us her passion for high jewelry, and her inspiration to design truly unique pieces.

The “Art & Jewelry” project emerged after the creation of the work “The Tree of Desires.” This piece is a work inspired by Ōgata Kōrin, a Japanese artist from the Rimpa school and from the Edo era. It is a combination of elements from the east and west that expresses the merger between the two countries, created to commemorate the dual year Spain Japan, the commemoration of the fourth centenary of relations between both countries, that took place in 2013/2014.

His first public appearance was at the Spanish Embassy in Tokyo, in Roppongui – Ichomei, where, by the way, she had great success and later in the Bunkamura art gallery, in 2016, one of the most important galleries in Tokyo, located in the famous neighborhood of Shibuya. Here, in addition, her artwork was admired and got a great acceptance by the Japanese public.

It was in this exhibition where “Desires”, Fruits of the Tree of Desires were presented for the first time. They are 24k Gold and platinum discs with different colours of oil painting. Each colour represents things like abundance, love, success, health … Their initial creation was to make them an amulet type, Omamori in Japanese, something very consistent with Japanese culture. The Omamori are something highly valued and respected for the Japanese, each temple has several representing the previous aspects of life such as health, money … and all the Japanese people use them and renew them annually.

And as the clients knew Sonia G Caballero’s style, and through their requests, she began to design high jewelry pendants, in collaboration with a Spanish artisan jeweller, who worked with several prestigious brands.

The pendants are made in yellow gold, rose gold and white gold, with oil painted by Sonia G Caballero, so they are pieces which two objectives are obtained, being high jewelry’s pieces and small works of art, finished with a layer of glass lacquer to protect the work. A real exclusive luxury.

Her pieces of high jewelry are well recognized, so every year she works on new designs, expanding the collection and incorporating new elements such as diamonds, as she did in the 2018-2019’s collection. Her success has crossed borders, and not only in Japan, but also in countries such as Monaco, Kuwait and especially in the United Arab Emirates (Dubai and Abu Dhabi) where several pieces have been sold.

And as a restless mind, Sonia G Caballero keep on creating new ideas for the next high jewelry collections, you will know at the right moment.

 

www.soniagcaballero.com


contact@soniagcaballero.com

Telephone. +81 80-4850-3014