日本の京都などに古くからある寺院の室内に見られる”襖絵”は金箔など装飾性を
帯ながら、建築的構造により、外部からの光のうつろいの影響を受けながらそれを
反射し、室内に深遠な空間を造りだし、その様子はあたかも呼吸をしているようだ。
その様子は内部に居ながらにして外部空間とも接することが出来るかのようである。
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
>>作品画像へ戻る
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.
>> Works page
