1972年生まれ。京都市立芸術大学大学院美術研究科版画修了。2013〜14年、五島記念文化賞美術新人賞受賞によりドイツ、ベルリンに滞在する。

日常の片隅にある物体の表面を、樹脂の皮膜として剥ぎ取り、再び形を与える。その精巧な彩色と、あえて露出させた樹脂の肌との対比は、私たちの認識の境界を揺り動かしていく。 実物大のミニクーパーやテトラポッドといった大型インスタレーションから、手のひらに収まる錆びた釘や枯れ枝、椿の一葉まで。スケールを横断する卓越した技術は、ありふれた日常を「作品」へと変容させる。2011年からは戦後日本の現代美術を代表する作家・岡崎和郎氏との対話を通じ、マルチプルという手法で世界を編み直す活動を続けている。

Born in 1972, he completed his graduate studies in printmaking at the Graduate School of Fine Arts, Kyoto City University of Arts. In 2013–14, he stayed in Berlin, Germany, after receiving the Gotoh Memorial Cultural Award for New Artists in Fine Arts.

Nobuaki Onishi’s practice begins with the surfaces of objects found in the margins of everyday life. By peeling away these surfaces as thin resin skins and reconstituting them as sculptural forms, the artist subtly unsettles our perception of what is real and what is represented. Precisely applied color is set against the deliberately exposed texture of resin, creating a tension between surface and substance, appearance and materiality.
The works traverse an extraordinary range of scale―from life-sized resin skins of a Mini Cooper or a tetrapod to rusted nails, withered branches, and a single camellia leaf small enough to rest in the palm of one’s hand. Through his precise and highly developed process, objects that might otherwise go unnoticed are transformed into works of art, inviting us to reconsider the familiar through a new perceptual lens.
Since 2011, the artist has also developed an ongoing dialogue with Kazuo Okazaki, one of the leading figures of postwar Japanese contemporary art. Through the medium of multiples, this collaboration and exchange has opened another dimension of the practice: reconfiguring the world through repetition, variation, and the shifting relationship between the original and its reproduction.