Back to top page

Exhibition at the library of Japan Foundation, Bangkok

Sep. 14th - Nov. 14th

　　　　　　　　　 OPENING DAY

Surprisingly, there were about 200 people come to the opening. Mostly they were the students in Silpakorn University

and they had some fair after this.That was why most of them dressed up very nicely.

room1

introducing the works to the important people first.

room3, room4

room5

サインしまくりまクリスティ

room6

(The photos of the actual contents in the exhibition will be coming soon....)

 

Essential Concept
　ここ十数年来、自然物とヒト、或いは人工物の違いを意識して観察してきている。時として二律背反ともなり得るこれらの二極化された対象が、豊かに共存する光景を見つけ出し描きたいと思っている。
　この視点から、タイに多く見られる葉や花を編み込んで造られる花環などの飾りは、人々の努力と美意識の賜であり、再びそれらに敬意を込めて自然神に捧げられるという行為も含めて、目下の最も興味深い対象である。

The collection of “FLOATING ILLUSION”
手の平に乗せて間近に見ることができる花環と、遠く離れなければその全体像を把握しきれない巨大な建造物を同一画面上に描く。すると遠近法により、その大小が画面上で逆転することがある。今回バンコクのシラパコーン大学での２年間のレジデンス中に制作した作品群を貫くテーマが、日常的に身近に漂っている風景の中から錯覚（Illusion）的光景を見つけ出し、その対象物の大きさを逆転させたり、だまし絵のような構図を取り入れて描くことだった。この混乱を招く感覚は、小刻みに表情を変えて人の目を惑わせる摩訶不思議なバンコクの街という私自身の印象を反映している。
そしてこのイデオロギーは、絵画と銅版画両方の工程の中にも生かされており、金属と紙の物質的対比、反発しあう色の扱い方等により、更に視覚的な混乱を引き起こしている。

Etching
銅版画制作にあたって初めの興味は金属板にミネラルを感じたことだ。
腐食液に浸けて反応させることで「硬い」と思い込んでいた金属を易々と変形し、自在に精密な線をも得ることができる。そうした物質の化学変化によってこの世の様々な真理に気付かされる。そんな興味を通して私はレリーフエッチングの技法に最も惹かれている。
銅板を深く腐食してレリーフ状に仕上げ、プレス機に通すと図像と共に紙にエンボスが刻み込まれる。それぞれの素材の特性がよく生かされていて物質性が際立つ。
私の銅版画制作工程は絵画と同様に単調で単純な作業の積み重ねだが、仕上がった作品から確固とした実在感と物質的な感触が味わえることに喜びと魅力を感じている。
最後に、人体に有害な物質を含む無機物質を美術制作の中で扱う上で、今後私自身が”自然”という言葉の領域をどう受け止めていくのか、より明らかに自覚する必要性があると考えている。

 

 

Essential Concept
For more than the last decade, I have been consciously observing the things whether they are human work or nature. Then I always try to find a sight where nature and the human beings peacefully stay together while I have been aware of that those two facts are often incompatible. From this point of view, the offering ornaments in Thailand such as the garlands (Phuang-Malai) are one of the most attractive subjects for me at present, because of that those are surely the fruits of people's labor and the aesthetic sense, and afterward they hold those objects up back to the nature with their deep worship or respect. I think it is one of the peaceful relations between people and nature symbolized by the beauty.

The collection of “FLOATING ILLUSION”
Suppose if you paint a huge architecture which is far beyond your visual field and a small garland which just fits to hold in your hands on a same canvas, you may find it turned to be reverse of the sizes of those objects by the laws of perspective.
Thus, I have collected illusionary sights from the view that usually floating around in my daily life while I have been working as an artist in residence at Silpakorn University for this 2 years, and created the images with the reversal of the sizes of the objects or using the misleading structures. The feeling of the illusion also came from my impression about this mysterious city, Bangkok, where it often changes its own expression every moment.
This ideology is also penetrated through the process of both my painting and etching works as the contrastive appearance of the materials or the colors leads the eyes to confusion.

Etching,
My first interest about working on etching was that I felt mineral disposition of nature from the metal plates. By putting the metal plate in the acid, we can easily deform it even in a fine sensitive expression, though I used to feel the metal as quite a hard material. Observing those chemical reactions, I feel like it conducts me for the realization of the truth in this world. Through these interests, I am attracted to work on relief etching the most.
In the process, I soak a copper plate in the acid very long time and many many times to get the deep relief on it. Then after pressing process, you can see the embossment effect on the paper as well as the printed image. It shows the distinct disposition of the each material.
Although my working process is always to do simple actions over and over, I can achieve my gratification with making art works when I realize them as a recognizable object in the real life with its material feeling.
In the end, while I use some inorganic toxic materials in my art works, I feel the necessity to realize how far I regard the meaning of the word "nature" in myself much clearer when I use that word in art.