「画布を分つと二つになる」展 installation view

installation view of  ‘When the canvas is divided , it becomes two pieces.’


Paintings are considered to be expressed with a personal dictatorial decision and are also thought to be as the last stand of the personal expression in the society. With a particular intention to oppose the premise above, I have established a minimal community, as a temporal society model, for this exhibition so that other persons can intervene in my working process at any time, and constructed the exhibition with the various elements that could be seen from the relationship such as contraposition, contradiction, physical sense, division, and so on.
A painter needs to cooperate with the external tools that are separate from his bodily features like the brushes, colors and canvases, when he paints a painting. The problem lied in what kind of relationship he could build with the external tools as elements considered as “Negative conditioning” can be transposed into that of the relationship between self and others in the real society. Most paintings in this exhibition were painted with the trowels of plastering and the plywood instead of the brushes in order to explicitly reinforce the “Negative conditioning”, and I frequently used the masking tapes for limiting physical free movement It was interesting to point out that physical flexibility could also coexist and rise because of the limitation from the masking tapes.
The establishment of community for this exhibition is also one of the strengthening of “Negative conditioning”.
A personal physical awareness that craves own freedom, and the elements that make framing of the personal physical awareness through negative conditioning were contraposed with both concrete and abstract forms inside and outside the paintings.Without excluding or absorbing one another, there can be seen the reality and the fount of life vibration from contraposing awareness and elements itself.
Specific physical techniques are needed in order to avoid the facile absorption and exclusion. Thus, there is my pursuit at the core of the exhibition under the theme of “Division”




櫓に奉納した自作の絵画を自ら燃焼させ、その廃材で椅子を作り、その椅子をモチーフに絵画を制作した。絵画の椅子をアートイベント内に於いて他者に破壊を依頼した。破壊された絵画、モチーフとなった椅子、絵画が破壊される記録写真を3点併置し展示した。「完成した輪郭を描かず、なんらかの明白なパラドックスから始めつつ、徐々にその解明へと導きながら、問題の展開のあらゆる局面を辛抱強く通り抜けていこうとする(ニールス・ボーア)」の姿勢によって絵画の条件を模索する。‘Transmigration of painting – cleaved canvas is not our scapegoat – on-going

This is an artwork of repeating cycles of the physical destruction and rebuilding of my painting since 2013. I took one circle out from this consecutive work for this exhibition.I burned one of my paintings that was dedicated to the wood scaffold, then made the chair out of that burned wood, and made the painting of the chair as a motif.  I asked someone else to destroy this painting at the art event.I exhibited the destroyed painting, the wood chair that became as the motif, and documentary photos while the painting was being destroyed.
I grope the painting requirement by an attitude of Niels Bohr  “He is going to go through every situation of the development of the problem patiently, while gradually leading it to the revelation, beginning with some kind of obvious paradox without drawing a complete outline.”