---絶えず形を変え続ける存在の知覚を描く試み---

 

明日、どんな服を着よう。夜ご飯何を食べよう。例えばこんな些細な日常の選択も、私は私の意志で決定しているのではなく、私の「外」の環境や情報、他者からの意見や他者への憧れや嫌悪によって、決定「させられている」と感じることがしばしばあります。

私と他者との関係の押し合い引き合いのなかで私の一部は外へ放出され、他者の一部が私の中へ入り込み、私の輪郭は常に裏表の反転を繰り返す。

私の「外」と思われるもの全てが私の内に作用され得るものであるなら、私と「外」の境界は曖昧になり、しまいには大きな一つの存在として認識を拡張することができるのではないでしょうか。

 

　文化人類学者のティム・インゴルドは自身の著書で「地面は大地(物質)と大気(媒質)の狭間で絶えず動き続けている」と、環境の構成要素を定義しています。

　この定義を私が感じている存在の知覚に当てはめると、他者と私を分けるものは境界線や自認ではなく、大気が動き、その中で私と他者がそれぞれの意識(知覚世界)のなかで動き続けることによって引き起こされる摩擦に形作られる、不定形な輪郭だと言えるでしょう。　

 

　この、絶えず動き続ける輪郭の変容を表現するために、自身が投げた布の観察から始まり、河辺の石ころへとモチーフは移りました。

分厚い岩盤から崩れ落ちた石は、川に運ばれ砂になり、再び長い年月をかけて岩盤となります。私は学生時代の３年間、この大気や自然のなかで形が形成「させられている」時間性をもった石というモチーフの動きを、二次元空間で可視化する方法を線を使って模索しました。

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そして学部卒業後、私の作品はモノタイプの技法を用いて、描くことの時間性と身体性を石が持つ時間性を重ね合わせる手法に発展しました。絵画作品自体をティムインゴルドが云う「地面」として捉え、モチーフが持つ形と私が描くそれらの形はガラスの板という媒介を通します。操作不可能で物理作用に基づいて表出し、重なり合った描画はそれ自体もまた、独立した時間軸を持つものになるのではないかと考察しています。

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— An Attempt to Depict the Perception of an Ever-Changing Existence —

What should I wear tomorrow? What should I have for dinner tonight?

Even in such seemingly trivial everyday choices, I often feel that I am not making decisions entirely of my own will. Rather, I find myself being shaped by what lies outside of me—my environment, the information that surrounds me, the opinions of others, as well as my admiration for or aversion to them.

Within this continuous push and pull between myself and others, parts of me are released outward, while parts of others enter into me. My contours are constantly reversing, turning inside out and outside in. If everything that appears to be outside of me can act upon what is within me, then the boundary between self and outside becomes increasingly ambiguous. Perhaps, in the end, it becomes possible to expand our perception and recognize ourselves as part of a larger, interconnected existence.

In his writings, the anthropologist Tim Ingold describes the ground as a zone of continuous movement between the earth (matter) and the atmosphere (medium). This understanding of the environment resonates deeply with my own perception of existence.

Applied to my experience, what separates myself from others is not a fixed boundary or a stable sense of identity. Rather, it is an indeterminate contour, shaped by the movement of the atmosphere and by the friction generated as both self and other continue to move within their respective worlds of perception.

My artistic practice seeks to express the transformation of these ever-shifting contours.

The motifs in my work began with observations of pieces of cloth that I threw and allowed to settle into unpredictable forms. Over time, this inquiry led me to stones found along riverbanks. A stone that breaks away from a massive bedrock is carried downstream, gradually worn into sand, and eventually, over immense spans of time, becomes rock once again. During my three years as a student, I explored ways of visualizing this temporality—the process through which form is shaped by atmosphere and natural forces—within two-dimensional space through the use of line.

After graduating, my practice developed further through the use of monotype. In these works, the temporality and physicality of drawing are layered onto the temporal qualities embodied by stone itself. I approach the painting as what Tim Ingold might call a “ground.” The forms of the motif and the forms I draw are mediated through a sheet of glass. Emerging through physical processes that resist complete control, the accumulated marks overlap and interact. Through this process, I consider whether the image itself might come to possess an independent temporality—its own distinct trajectory of becoming.

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