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- oil on panel
contemporary art painting｜現代美術｜絵画｜
現代美術・絵画 杉山綱の公式ページ。アーティスト杉山綱による現代絵画を用いたインスタレーション、画廊、ギャラリーでの作品展示風景や、現代美術絵画の作品制作過程を ブログにて紹介致します。絵画が現代美術の位置においてどのような役割が残されているのか、検証出来たらと思います。現代美術の中でも絵画を中心にContemporary art,paintingに関する事をお届けしたいと思います。
現代美術の世界で絵画が今もなおメディアとして存在しているのは何故なのか・・・
インターフェイスをテーマに絵画空間と外部空間との関係性を探る。
東西の伝統建築や伝統絵画に表れた空間性の幅広い考察にもとづき、
２次元平面にイリュージョンを形成する絵画表現の原理を、ミニマルな
フォーマットによって深め、複数の視点によるパースペクティブを同一
平面に交錯させるラインは、 矩形の内外に延び広がって、作品同士の空
間や絵画空間と展示される空間を関連づけています。また絵具を自作し
偏光パール顔料や岩絵の具、ステンレス粉を含んでフラットに光を放射
する表面によって、より複雑で緻密な平面のイリュージョンと構造を窮
める工夫をしている。
About current work – Extending Painting-
In the ancient temples of old towns, like especially in Kyoto in
Japan, you can find “Fusumae”, a framed and papered sliding door used
as room partitions. These have traditionally been enriched with gold
and furthermore have the peculiar combination with the typical
architecture and construction to let the rays of light from the
outside reflect thus influencing the atmosphere for the contemplator
deeply.
While remaining inside it seems to be connected with the outside.
A similar effect can be imagined in western church stained glass
artworks however due to the building construction, the Japanese
traditional temple gives more feeling experience in terms of
connecting the inside with the outside.
In my present artwork I created the ingenuity of the plain painting
surface to have the ability of connecting the painting with the
exterior space, also including the gallery, to influence the whole
surrounding.
The shown picture is divided in an upper and a lower area as it would
imagine the horizon leading to the open wideness, thus the white line
is marking the border to the interior space. The perspective of this
work by commanding a view to the contemplator is a different unique
way to stipulate the viewers interest.
Further this white line spreads the outer area successfully,
concluding the exhibition piece as an individual’s work to stretch
and collect the whole room.
One further annotation:
The aspect with the depth that the horizon invents is the Western one coming from a religious painting of the West, and the aspect at which it looks down is the Oriental one coming from the picture scroll of Japan. The illusion of the painting is invented
considering planning by piling them up.
The surface smoothly polished must reflect the light,
make a sense of existence as the thing demonstrative, and produce the physical communication space that can be experienced only through the sight in the society to which the image among monitors revolts.
