2021
無音の情景
A silent scenery
As John Cage noticed the sound of his blood circulation in an anechoic chamber 70 years ago and brought it to fruition in "4'33", we are always full of sound as long as we live. There is. The "silent scenery" is probably a momentary view of the raw margins that cannot be found in this world full of sound.
About the works
For this exhibition, Yuji Arai, owner of Shinobazu Gallery, commissioned me to create and present a work on the theme of "black". In order to consider the "color" of black, I decided to focus on graphite and paper as materials for his work.
At a residency organized by Awagami Factory, which I participated in 2018, I was given a full day experience of making Japanese paper of Nisanban (60.6x90.9cm) size. At first glance, the Japanese paper is so thin that you can see through to the other side, but its interior is made up of layers of bark fibers. As I mindlessly shook the Sugeta, I suddenly had the sensation that an image was emerging from the inside of the paper as well. Since that experience, I have been inspired to create works in which the materiality of the material (basement) and the image merge, and I began to scratch images with a needle on paper as well.
無音の情景に寄せて
今から70年前、ジョン・ケージが無響室の中で自身の血液の循環音に気がつき『4分33秒』に結実させたように、私たちは生きている限り、常に音で満たされている。「無音の情景」とは、音に満ち溢れたこの世界では探し得ない、生の余白に訪れる一瞬の眺めなのだろうか。
制作について
本展示では不忍画廊のオーナー、荒井裕史氏からの依頼で「黒」をテーマにした作品を制作し、発表した。黒という「色」について考えるため、素材を黒鉛と紙に絞っての制作で作品の展開を試みた。
2018年に参加したアワガミファクトリー主催のレジデンスで、一日中、二三判(60.6×90.9cm)の和紙を漉く経験をさせてもらった。一見、向こう側が透けるくらいに薄い和紙でも、その内実は幾層もの樹皮の繊維の集合でできている。無心に簾桁を揺すっていると、ふとイメージが紙の内側からも立ち現れるような感覚が訪れた。その経験以来、素材(支持体)の持つ物質性とイメージが融合するような作品が浮かぶようになり、ニードルでイメージを刻む手法を紙の上でも行うようになった。