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略歴姓名フェレーラスホルヘ Ferreras Jorge 生れ 1947年アルゼンチン共和国（サンタ・フェ州・ルフィノ市）学歴 1971 年アルゼンチン国立コルドバ大学・建築学科卒 1972～74 年東京大学建築学科・研究生 1976～86 年東京工業大学：建築学科専攻工学修士・大学院博士課程修了絵画グループ展 1964・71 年アルゼンチン国立コルドバ大学展 1974 年日本橋三越本店・東京ロータリークラブ展 1977年銀座ミキモト・ホール「在日外国人美術展」 1990年第3回童画大賞展 1991年第9回上野の森美術館大賞展絵画個展 1989年銀座ラ・ポーラ「風に吹かれて」 PART I 1990年銀座ラ・ポーラ「風に吹かれて」 PART Ⅱ 1991年軽井沢ベル・コモンズギャラリー 1991年上田市壷屋ギャラリー 1992年東京ギャラリープロモ・アルテ 1992年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅢ 1993年東京ギャラリープロモ・アルテ 1994年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅣ 1997年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅤ 1998年東京ギャラリープロモ・アルテ 1998年軽井沢「一花草」ギャラリー 1998年上田市壷屋ギャラリー 2000年日本橋ぺんてるギャラリー「風に吹かれて」 PARTVI 2004年　日本橋ぺんてるギャラリー「風に吹かれて」 PARTVII 1983年からNHK国際局にスペイン語アナウンサー、現在に至る。 1989年から画家として本格的活動を開始。 1999年から獨協大学スペイン語講師、現在に至る。役者として芝居の主役をつめたこともある。　 2001年からロータリー米山奨学生学友会(東京)、現在に至る。日本建築学会正会員。 CURRICULUM VITAE RESUMIDO DE JORGE FERRERAS Nacido: Rufino, Santa Fe, Argentina, 1947. Titulos: Arquitecto por la Facultad de Arquitectura y Urbanismo de la Universidad Nacional de Cordoba, 1971. Master en Ingenieria por el Instituto Tecnologico de Tokio, curso doctoral terminado en el mismo Instituto. Becas recibidas: Rotary International (1 ano), Rotary Yoneyama Foundation (1 ano), para estudios de posgrado realizados en la Universidad de Tokio entre 1972 y 1974. Ministerio de Educacion de Japon (7 anos) para estudios de posgrado en el Instituto Tecnologico de Tokio, entre 1976 y 1986. Docencia: En la Facultad de Arquitectura y Urbanismo de la Universidad Nacional de Cordoba de 1975 a 1976. Presentacion de obras pictoricas en TV: Canal 13 de Buenos Aires en el programa 3:60 “Todo para ver” (1992); Canal 3 （educativo）de NHK (Tokio, 1997 y 1998), Canal IPC (Tokio 1997 y 1998), Televisa de Mexico (1997), Direct TV (Tokio 2002). Tambien en diversos diarios y revistas de Argentina y Japon en ingles, japones y castellano. Auspicios recibidos de la Embajada de la Republica Argentina en Japon: En ocasion de la muestra “Nostalgias de Argentina” realizada por solicitud de la Seccion Cultural de la Embajada en 1998 en la Galeria PROMO-ARTE con motivo del centenario de relaciones nipo-argentinas y para la sexta y septima de la serie “Llevado por el viento” en la Galeria Pentel, ambas en Tokio. Actividades: Ademas de pintor se desempena como locutor radial (desde 1983) de NHK World Radio Japon a cargo de la traduccion y locucion de noticieros y programas tecnologicos asi como profesor de Culturas Comparadas (entre paises de habla hispana y Japon) en la Universidad Dokkyo (desde 1999). Afiliaciones: Miembro del Architectural Institute of Japan (equivalente a la Sociedad de Arquitectos en Argentina). Directivo de la Comision de ex becarios de Rotary Yoneyama de Tokio. e-mail address： jorgefe@lilac.plala.or.jp homepage: http:// www16.plala.or.jp/jorge/ The Japan Times, Tokyo, Sunday, March 8, 1992 ARTS Argentinean artist paints spirit of silence By Liane Grunberg Jorge Ferreras appears to have an obsession with white churches. He places his steepled white buildings under empty skies where they stand alone alongside patchwork fields of color that stretch as far as the eye can see. Sometimes a roof is omitted from a historically correct bell ?shaped facade. Other times a carpet o lawn passes right up the center aisle of a shadowless church. Optical illusions take on unexpected proportion that he playfully manipulates as only a master carpenter or architect could do. Then there’s the dog. A spindly mass o legs, all gray and bony, lazy and totally innocuous moves from canvas to canvas as if the beast owns the churches and the sunsets as well. Ferreras, who spent two years doing research at Tokyo University an logged 10 years in Ph.D. work at the Tokyo Institute of Technology, in both cases for architectural studies, says that he identifies as much with the dog as with the churches. Spending time with Ferreras, sun drenched “church series” would border on a religious experience if it weren’t for that dog. Ferreras’ landscapes are the product of 20 years life as a Tokyo resident, none as a dog owner. But frequent return visits to his homeland, Argentina, have drawn him back to the empty northwest territory, a rugged mountains area so isolated from towns that the best way to describe the feeling is to capture it, he says, in the soul of a lonely dog. On first impression, the only tangible connection Ferreras’ churches make with Japan is that some 20 odd works are currently on display (until March 11) at the Promo?Arte gallery in Tokyo. They are as far removed in scenery from this neon city as the Latin tango is from Japanese enka. They are closer in palette to Matisse tan the earthy muted tones of the classic Japanese painter, and still closer in form to the sensual topography that made Georgia O’Keefe one of America’s greatest landscape painters of this century. Yet the feeling of calmness that covers Ferreras’ hillsides is a unique feature, one that is strikingly Japanese in quality. While studying sukiya-zukuri (traditional Japanese architecture) as part of his doctoral work Ferreras became interested in Zen meditation and tea ceremony as a way of understanding the Japanese sensibility toward empty space. The tea ceremony began as an excruciating seiza seating exercise that his Western legs at first rebelled against, but it has become, after nearly 10 years, part of his daily routine. Ferreras meditate before painting for nearly 40 minutes, focusing on breathing so that, in his words, bad energy leaves his hands. It had been his dream since he was a small boy to be an artist but his father, a country doctor who attended to rich cattle ranchers, deemed that his fourth son would find what he saw to be a more practical, respectable occupation. It wasn’t until Ferreras was 38, soon after his father’s death, and only months away from receiving his Ph.D., that he became clear about his life mission: He would abandon designing buildings. Instead he would paint them. From a young age Ferreras loved to play piano and to draw. He studied architecture at the university of Cordoba, located in a mountainous area of central Argentina in utter contrast to the flat, featureless Pampas where he had been raised. It was here that he discovered the hilly route that hundreds of years before had brought European settlers from Peru to Argentina. These rugged pioneers left few towns to mark their travel, but they did leave a remarkable legacy of Roman Catholic churches that in present day are used by Indians, converted to Christianity, who come down from the mountains on Sundays when they hear the father ringing church bells. We can almost feel the vibration of the bell in Ferreras’ paintings. He brakes the stillness of the landscape through heated color and a dog that peers curiously, head tilted in our direction, as if to say, “You don’t know what you’re missing until you’ve taste Argentina’s silence.”

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略歴

姓名

フェレーラスホルヘ

Ferreras Jorge

生れ

1947年アルゼンチン共和国（サンタ・フェ州・ルフィノ市）

学歴

1971 年アルゼンチン国立コルドバ大学・建築学科卒

1972～74 年東京大学建築学科・研究生

1976～86 年東京工業大学：建築学科専攻工学修士・大学院博士課程修了

絵画グループ展

1964・71 年アルゼンチン国立コルドバ大学展

1974 年日本橋三越本店・東京ロータリークラブ展

1977年銀座ミキモト・ホール「在日外国人美術展」

1990年第3回童画大賞展

1991年第9回上野の森美術館大賞展

絵画個展

1989年銀座ラ・ポーラ「風に吹かれて」 PART I

1990年銀座ラ・ポーラ「風に吹かれて」 PART Ⅱ

1991年軽井沢ベル・コモンズギャラリー

1991年上田市壷屋ギャラリー

1992年東京ギャラリープロモ・アルテ

1992年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅢ

1993年東京ギャラリープロモ・アルテ

1994年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅣ

1997年日本橋ぺんてるギャラリー「風に吹かれて」 PARTⅤ

1998年東京ギャラリープロモ・アルテ

1998年軽井沢「一花草」ギャラリー

1998年上田市壷屋ギャラリー

2000年日本橋ぺんてるギャラリー「風に吹かれて」 PARTVI

2004年　日本橋ぺんてるギャラリー「風に吹かれて」 PARTVII

1983年からNHK国際局にスペイン語アナウンサー、現在に至る。

1989年から画家として本格的活動を開始。

1999年から獨協大学スペイン語講師、現在に至る。

役者として芝居の主役をつめたこともある。　

2001年からロータリー米山奨学生学友会(東京)、現在に至る。

日本建築学会正会員。

CURRICULUM VITAE RESUMIDO DE JORGE FERRERAS

Nacido: Rufino, Santa Fe, Argentina, 1947.

Titulos: Arquitecto por la Facultad de
Arquitectura y Urbanismo de la Universidad Nacional
de Cordoba, 1971.
Master en Ingenieria por el Instituto Tecnologico de Tokio,
curso doctoral terminado en el mismo Instituto.

Becas recibidas: Rotary International (1 ano),
Rotary Yoneyama Foundation (1 ano), para estudios
de posgrado realizados en la Universidad de Tokio
entre 1972 y 1974.

Ministerio de Educacion de Japon (7 anos) para estudios
de posgrado en el Instituto Tecnologico de Tokio,
entre 1976 y 1986.

Docencia: En la Facultad de Arquitectura y Urbanismo
de la Universidad Nacional de Cordoba de 1975 a 1976.

Presentacion de obras pictoricas en TV: Canal 13 de
Buenos Aires en el programa 3:60 “Todo para ver” (1992);
Canal 3 （educativo）de NHK (Tokio, 1997 y 1998),
Canal IPC (Tokio 1997 y 1998), Televisa de Mexico (1997),
Direct TV (Tokio 2002). Tambien en diversos diarios y
revistas de Argentina y Japon en ingles, japones y
castellano.

Auspicios recibidos de la Embajada de la Republica
Argentina en Japon: En ocasion de la muestra
“Nostalgias de Argentina” realizada por solicitud de
la Seccion Cultural de la Embajada en 1998 en la
Galeria PROMO-ARTE con motivo del centenario de
relaciones nipo-argentinas y para la sexta y septima
de la serie “Llevado por el viento” en la Galeria Pentel,
ambas en Tokio.

Actividades: Ademas de pintor se desempena como
locutor radial (desde 1983) de NHK World Radio Japon
a cargo de la traduccion y locucion de noticieros y
programas tecnologicos asi como profesor de Culturas
Comparadas (entre paises de habla hispana y Japon) en la
Universidad Dokkyo (desde 1999).

Afiliaciones: Miembro del Architectural Institute of Japan
(equivalente a la Sociedad de Arquitectos en Argentina).
Directivo de la Comision de ex becarios de Rotary
Yoneyama de Tokio.

e-mail address： jorgefe@lilac.plala.or.jp

homepage: http:// www16.plala.or.jp/jorge/

The Japan Times, Tokyo, Sunday, March 8, 1992
ARTS

Argentinean artist paints spirit of silence

By Liane Grunberg

Jorge Ferreras appears to have an obsession with white churches. He places his steepled white buildings under empty skies where they stand alone alongside patchwork fields of color that stretch as far as the eye can see.

Sometimes a roof is omitted from a historically correct bell ?shaped facade. Other times a carpet o lawn passes right up the center aisle of a shadowless church. Optical illusions take on unexpected proportion that he playfully manipulates as only a master carpenter or architect could do.

Then there’s the dog. A spindly mass o legs, all gray and bony, lazy and totally innocuous moves from canvas to canvas as if the beast owns the churches and the sunsets as well. Ferreras, who spent two years doing research at Tokyo University an logged 10 years in Ph.D. work at the Tokyo Institute of Technology, in both cases for architectural studies, says that he identifies as much with the dog as with the churches.

Spending time with Ferreras, sun drenched “church series” would border on a religious experience if it weren’t for that dog. Ferreras’ landscapes are the product of 20 years life as a Tokyo resident, none as a dog owner. But frequent return visits to his homeland, Argentina, have drawn him back to the empty northwest territory, a rugged mountains area so isolated from towns that the best way to describe the feeling is to capture it, he says, in the soul of a lonely dog.

On first impression, the only tangible connection Ferreras’ churches make with Japan is that some 20 odd works are currently on display (until March 11) at the Promo?Arte gallery in Tokyo. They are as far removed in scenery from this neon city as the Latin tango is from Japanese enka. They are closer in palette to Matisse tan the earthy muted tones of the classic Japanese painter, and still closer in form to the sensual topography that made Georgia O’Keefe one of America’s greatest landscape painters of this century. Yet the feeling of calmness that covers Ferreras’ hillsides is a unique feature, one that is strikingly Japanese in quality.

While studying sukiya-zukuri (traditional Japanese architecture) as part of his doctoral work Ferreras became interested in Zen meditation and tea ceremony as a way of understanding the Japanese sensibility toward empty space. The tea ceremony began as an excruciating seiza seating exercise that his Western legs at first rebelled against, but it has become, after nearly 10 years, part of his daily routine.

Ferreras meditate before painting for nearly 40 minutes, focusing on breathing so that, in his words, bad energy leaves his hands. It had been his dream since he was a small boy to be an artist but his father, a country doctor who attended to rich cattle ranchers, deemed that his fourth son would find what he saw to be a more practical, respectable occupation. It wasn’t until Ferreras was 38, soon after his father’s death, and only months away from receiving his Ph.D., that he became clear about his life mission: He would abandon designing buildings. Instead he would paint them.

From a young age Ferreras loved to play piano and to draw. He studied architecture at the university of Cordoba, located in a mountainous area of central Argentina in utter contrast to the flat, featureless Pampas where he had been raised. It was here that he discovered the hilly route that hundreds of years before had brought European settlers from Peru to Argentina. These rugged pioneers left few towns to mark their travel, but they did leave a remarkable legacy of Roman Catholic churches that in present day are used by Indians, converted to Christianity, who come down from the mountains on Sundays when they hear the father ringing church bells.

We can almost feel the vibration of the bell in Ferreras’ paintings. He brakes the stillness of the landscape through heated color and a dog that peers curiously, head tilted in our direction, as if to say, “You don’t know what you’re missing until you’ve taste Argentina’s silence.”