よく一人で考えることが多かった経験から「自由と束縛」「個と群」など何かと何かの関係性についてそれぞれの立場で考えたり比較したり立ち位置を逆転させてみたものをかたちにしています。
不自由と自由のモチーフとして頻繁に家畜と鳥を使います。全員にわかりやすいことよりいろんな人がそれぞれの解釈をできる余白を持たせ、見る人と作家が相互に答え合わせというかこんな見方もあるんだなと楽しむものとして作品があってほしいです。
表面的には「かわいい動物モチーフ」で糖衣されつつ静かに佇む様子にのぞく影から本質を見せるようで、どちらかというと明るい舞台よりも密やかに楽しむ自分だけのコレクション部屋に居そうなポエミーな作品が多いと思います。
表現に合わせて様々な素材を使いますがとくに陶土は焼くと自然に戻れない特徴に人の身勝手な永遠を閉じ込めるようで素敵です。
しかし最近は限りある資源を人だけが占有してるような感もあり自分の哲学をかたちにするためだけにそれを加速させたくない気持ちもあります。
陶芸の場合は廃棄物を増やさないように型取りのための石膏を使わない、ロクロは手回しのみ使うなど自分なりに静かに活動しています。
他にも紙パックやリサイクル素材から作られた銀粘土で自分の世界を表現できないか模索しています。そういう意識で作られた作品が人々の気持ちを潤わせるアートとして身近に増えていくのは現代的でもあると思います。
それらが最近の私が表現したいことのように思います。
From my experience of often thinking alone, I have given form to my ideas about the relationship between something and something else, such as "freedom and bondage" or "the individual and the group", by thinking from different standpoints, comparing and reversing the positions of each.
I frequently use livestock and birds as motifs of inconvenience and freedom. I want the work to be something that the viewer and the artist can mutually answer to each other, or rather enjoy the idea that there is such a way of looking at it, rather than something that is easy for everyone to understand.
They seem to show their true nature from the shadows that peek out from the way they stand quietly while being sugar-coated with 'cute animal motifs' on the surface,I think that many of the works have a poetic quality, as if they were in their own private collection room, where they are enjoyed in secret, rather than on a bright stage.
I use various materials according to the expression, but ceramic clay in particular is wonderful as it seems to confine the selfish eternity of man in its characteristic of not returning to nature when fired.
However, recently I have been feeling guilty that humanity alone is occupying limited resources, and I don't want to accelerate this just to give shape to my philosophy.
In the case of ceramics, I work quietly in my own way, for example, I do not use plaster for moulding to avoid increasing industrial waste, and I only use hand-cranked potter's wheels instead of electric ones.
I am also exploring whether I can express my world in other ways paper cartons and using silver clay made from recycled materials. I think it is contemporary that works of art made with this kind of awareness are becoming more and more accessible as art that enriches people's feelings.
Those seem to be the things I want to express these days.
不自由と自由のモチーフとして頻繁に家畜と鳥を使います。全員にわかりやすいことよりいろんな人がそれぞれの解釈をできる余白を持たせ、見る人と作家が相互に答え合わせというかこんな見方もあるんだなと楽しむものとして作品があってほしいです。
表面的には「かわいい動物モチーフ」で糖衣されつつ静かに佇む様子にのぞく影から本質を見せるようで、どちらかというと明るい舞台よりも密やかに楽しむ自分だけのコレクション部屋に居そうなポエミーな作品が多いと思います。
表現に合わせて様々な素材を使いますがとくに陶土は焼くと自然に戻れない特徴に人の身勝手な永遠を閉じ込めるようで素敵です。
しかし最近は限りある資源を人だけが占有してるような感もあり自分の哲学をかたちにするためだけにそれを加速させたくない気持ちもあります。
陶芸の場合は廃棄物を増やさないように型取りのための石膏を使わない、ロクロは手回しのみ使うなど自分なりに静かに活動しています。
他にも紙パックやリサイクル素材から作られた銀粘土で自分の世界を表現できないか模索しています。そういう意識で作られた作品が人々の気持ちを潤わせるアートとして身近に増えていくのは現代的でもあると思います。
それらが最近の私が表現したいことのように思います。
From my experience of often thinking alone, I have given form to my ideas about the relationship between something and something else, such as "freedom and bondage" or "the individual and the group", by thinking from different standpoints, comparing and reversing the positions of each.
I frequently use livestock and birds as motifs of inconvenience and freedom. I want the work to be something that the viewer and the artist can mutually answer to each other, or rather enjoy the idea that there is such a way of looking at it, rather than something that is easy for everyone to understand.
They seem to show their true nature from the shadows that peek out from the way they stand quietly while being sugar-coated with 'cute animal motifs' on the surface,I think that many of the works have a poetic quality, as if they were in their own private collection room, where they are enjoyed in secret, rather than on a bright stage.
I use various materials according to the expression, but ceramic clay in particular is wonderful as it seems to confine the selfish eternity of man in its characteristic of not returning to nature when fired.
However, recently I have been feeling guilty that humanity alone is occupying limited resources, and I don't want to accelerate this just to give shape to my philosophy.
In the case of ceramics, I work quietly in my own way, for example, I do not use plaster for moulding to avoid increasing industrial waste, and I only use hand-cranked potter's wheels instead of electric ones.
I am also exploring whether I can express my world in other ways paper cartons and using silver clay made from recycled materials. I think it is contemporary that works of art made with this kind of awareness are becoming more and more accessible as art that enriches people's feelings.
Those seem to be the things I want to express these days.