WORKS - PAINTING

PAINTING / DRAWING /VIDEO INSTALLATION / EXHIBITION

2023 ｜ Burning Color Series ( Painting Ver.)

Pigment and Foil on Cotton cloth / 綿布,箔, ピグメント

「場所」とは単なる物理的空間ではありません。歳月を経て積み重ねられてきた人々の触れ合い、葛藤、慈しみ等の情動体験と結び付いています。本展ではそれらの強い感情と世代を超えた体験を堆積する「遊園地」の取材に基づく作品を発表します。
その場所で私達は空を飛ぶ事ができます。おもちゃの飛行機に乗っている時、私達の意識は鳥のように風に溶けています。馬のように疾走できます。人造の遊具は私たちの知覚を拡張させ、心身とその外側との境目を溶かします。
それは主体と客体の境目とも換言できます。ダナ・ハラウェイ(1944-)は「機械と生物の混合体（=サイボーグ）としての人間」という人間観の提示のもと、主体と客体の溶融する現代について論じました。私が本展で提示するのは、遊園地によって鳥のように舞い、高らかにいななく、何世代にもわたるサイボーグとしての人間像です。
物質としての顔料、色彩と図像を交わらせながら、躍動し揺れ動く心の動きを燃えるような青色の中に表現します。

A "place" is more than just a physical space. It is connected to emotional experiences such as people's touch, conflict, and compassion, which have been historically accumulated. In this show, I will exhibit works based on my research of "amusement parks" that deposit these strong emotions and experiences that transcend generations.
Not a metaphor, we can fly there. When we are riding in a toy airplane, our consciousness is melting in the wind like a bird. We can gallop like a horse. Man-made playthings expand our perception and dissolve the boundary between mind, body, and outside of them.
In other words, the boundary between the subject and the object is dissolved. Donna Haraway (1944-) discussed the present age of the melting of subject and object based on her view of the human being as a hybrid of machine and organism (i.e., cyborg). In this show, I will present an image of human beings as cyborgs spanning generations　by drawing a place, soaring like birds, and neighing like horses.
The pigments, colors, and images are melted into the works. The vibrant movements of the mind are expressed in blue like burning.

Figure 1. Photo by Shinya Kogure

2022 ｜ Before Dawn Series ( Painting Ver.)

Pigment and Foil on Cotton cloth / 綿布,箔, ピグメント

深夜0時から未明にかけての夜明け前に、眠れずにいる人々の居る場所を見つめます。日中を人は集団の一人として生きます。しかし日が沈んでも、人は必ずしも個に還元されるとは限りません。誰かの為に働き、努力し、或いは焼き付いた昼の記憶に苛まれて、社会的要請によって瞼は開かれています。その視座と微かな声を鮮烈な色彩による絵画表現および明滅する音と動きによる映像表現で解釈します。鑑賞者がそれらの内に自らを溶かすことで、溶け切らないその人自身の心の動きと出会うことを願います。

The Before Dawn series depicts public spaces where there is someone who are not able to sleep before dawn, between midnight and dawn. This series depicts a global fast food chain restaurant, back alleys, and an airport late at night. Through this work, I attempt to express the alienation and loneliness as well as anger and sadness, that lurk around us in society.
During the global pandemic, the number of 24 hour stores, that is, those open late at night, decreased. The series was drawn from the question of whether people without homes or places to stay at home would then have no place to go.
There are several important formative elements. First, as a motif, no actual people are depicted on the screen. People are abstracted and "something like a soft presence" is depicted in the pictorial space. Also important is the choice of a global chain store as the motif. It gives a sense of commonality rather than a specific locality. Although I have covered various parts of Japan, it is suggested that this is happening everywhere in the world. Furthermore, the melancholy colors are also important. I give priority to making the paintings more concerned with the abstracted, solitary presence that lurks within them. In addition, in this series is a video installation consisting of flickering colors and space.
I created this series in the hope that they would encourage viewers to think about the solitary and overlooked beings that may be right beside them.

2021 ｜ DRAWING - Fragments Series

Ball-point-pen, Paper, 91x91cm, 2020 - 2021

一枚の絵を完成させる為に、その取材として、或いは描くこと自体を目的として、何枚もの線画（ドローイング）を描きます。展示されたこれらはある絵の取材として描かれたものもあれば、頭の中の考えを形にする為のものも含まれています。描いている時は完成する未来など見えておらず、不安と恐れと格闘しながら線を引きます。それは人が生きること、或いは場所がその歴史を積み重ねる営為と似ているように思うのです。展示場所の節目となるこの時にささやかな応援の意を込めて出品します。

A number of drawings have been depicted in order to create only one painting. For the purpose of research or for drawing itself. This is the first time she shows her drawings to the public. Some of the drawings in this exhibition were done as research for a particular painting, others were done to give a shape to the ideas in her mind. Whenever she draws lines, she fights with courage against huge anxiety and fear because nobody knows what kind of painting it will be. It seems to her that this is similar to the way people live, or the one places make and walk their history. The exhibition is held at Shibukawa City Museum; this is going to move new place after next year, so it is the last chance to open an exhibition in this place. Shibukawa city is also her hometown. Hope these drawings will be a small gesture of support for everyone involved in this place.

2020-2021 ｜ Night series

Pigment on Paper / 紙,ピグメント

Night Seriesではベルリンのナイトクラブが描かれています。これらの作品は2019年から2020年に、ベルリンのナイトクラブを実際に訪れ、取材した経験を基に描かれました。ナイトクラブはBerghain, Tresor, Kater Blau, Watergate, Sisyphos, Golden Gateです。これらの作品を通して、私は現代にベルリンに集まる人々の強い情動表現や抑圧からの解放欲求を表現しようと試みています。
最も重要な要素は色彩で、ナイトクラブの現実の光学的現象を構成するとともに、そこに集う人々の複雑で強い内面に共感するものだと私は捉えました。赤を中心として青、黄色と断続的に変化するネオンサインは、都会的な冷ややかさを持って、現実の空間および絵画空間を構成する根幹を成しています。また、部屋に充満するスモークはあらゆる境界を曖昧にします―即ち他者と自分、テクノの低音と心臓の鼓動、大きな箱と人間の境界を。絵画の画面上でもその絶え間ない動きが表されています。
歴史に目を向けると、ベルリンのナイトクラブの文化はマイノリティーの人々の抵抗から始まりました。その文化は今やベルリンの文化として広く世界に認識されるほどに至るとともに、世界中の孤独を抱える人々を魅了し続けているように見られます。絵画に込められたナイトクラブが象徴する情動は、世界中の寄る辺ない人々の怒りや欲求に共感するものです。

The Night Series refers to nightclubs in Berlin. This series' paintings are depicted based on actual visits and experiences with 6 nightclubs in Berlin, which are Berghain, Tresor, Kater Blau, Watergate, Sisyphos, and Golden Gate during 2019-2020. Throughout these pieces, I aim to indicate strong emotional expression and desire emission from social oppression in people who gather in Berlin in the current.
The most important element is color. The vivid neon signs, which change continuously from red, to blue, and yellow, form the basis of both the real and pictorial space. The colors not only illuminate actual nightclubs but also evoke the emotions of the people who come to nightclubs, and resonate with those who view the painting. In addition, some movement elements melt boundaries between the diverse others and myself; the smoke spreading throughout the whole room, a huge space involving small humans. In the painting, the coexistence of bold brushstrokes and delicate depictions expresses the cyclical nature of this movement.
Looking back in history, the nightclub culture in Berlin began with the protest of the minorities. This has now become widely regarded as a symbol of Berlin and has attracted people who feel loneliness from all over the world. The emotional impact of nightclubs in the paintings resonates anger and desire of people around the world.