「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.’ 個人の独裁的判断によって表されるとされている絵画は、その性質ゆえ社会の中での個人の発露の最後の砦として位置づけられているが、敢えてその制作の営みに他者を介在させるべく極小共同体(仮構社会)を結成し、その関係性の中から産まれる要素(=対置・矛盾・身体感覚・分断等)によって展覧会を構成した。絵画を制作する際は、絵具、筆、画布、等の自分の身体とは異なる外部要素との恊働が要されるが、それら「負の条件付け」と位置づけられるこれらの要素とどのような関係性を築くことができるか、という課題は、実社会における自己と他者との関係性にも転置可能な課題である。本展で制作された絵画の多くは「負の条件付け」を明確に強化するために、筆の代わりに左官用コテ/ベニヤ板等で油絵具を取扱い、身体の自由な運動の制御のためにマスキングテープ(マスキングテープがあるからこそ自由度が上がる、と見る事も可能な矛盾も併存しているのがまた面白い)が多用されている。また、展覧会のための共同体の結成も「負の条件付け」の強化の1つである。 自由を希求する個人の身体意識と、それを負の条件付けによってフレーミングする要素を、絵の内外、具体・抽象様々な形で対置させた。その対置し合う存在達がどちらかに吸収されたり排除されたりすることなく、対置したまま存在し合っている事にリアリティと生命バイブレーションの源泉があるが、安直な吸収や排除に向かわないためには身体テクニックが必要であり、その探求こそが〈分断〉をテーマとした本展の軸に存在した。 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”

「繰り返す絵画(裂かれている画布は私たちの身代わりではなく)」on-going 2013年から継続している、絵画の物理的破壊と再構築のサイクルを繰り返す作品「繰り返す絵画」の1サイクルを取り出した。 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.”