Plants//paper//color

I intend to make various relationships created between things (paintings) and humans (viewers) by treating materials, contents, and exhibition methods in parallel, and thereby extract the energy of the things. The observation and understanding of complex natural structures are important to me. 

 

Plants and painting are very similar. When plants shake in the wind and leaves and shadows tremble, or when you follow the intertwining of complex plants that stretches everywhere while going back and forth, there is almost everything that you need for painting. When it’s drawn or painted, leaves and shadows become the same material - paint, and when oil paint seeps into paper, the lines that move back and forth become inconsistent somewhere, creating a space that is nowhere else. And then, finally, the painting begins. Developing the picture in the picture is supposed to be more and more plant-like, although the shape and color should be away from the original plant.

 

Our senses tremble while paints go in and out of the picture. The human being receives the energy of the picture (the material, space where the picture is drawn, space where the picture is displayed), and the humans change the way the picture is viewed. I think that the wind blows in the picture like a plant swaying in the wind due to the tremble of the senses born in that activity.

 

 “Tremble of existence" -paper can be so described. It comes from the characteristics of paper that are everydayness, fragility, and the fact that strongly influenced by the environment, such as that of Jean-Luc Hennig, who described grey as “tremble of color." I am interested in the fact that this paper material makes various relationships between picture and viewer while deforming in various ways. The relationship between the picture and the person will vary greatly depending on the exhibition method. An exhibition is an act of giving artworks the certainty of existence why it has to be there, and for me, it is part of the production. 

 

 

Asuka Miyahara

植物//紙//色

私は物質(絵画)と人間(鑑賞者)の間に生まれる関係性を、素材、内容、展示方法を並列に扱いながら変化させ、そうすることで物質の持つエネルギーを引き出そうと考えています。私にとってここで重要なのは、複雑な自然構造の観察と理解です。

植物と絵は似ています。植物が風に揺れ、葉っぱと影が入れ替わりながら揺らぐ時や、前や後ろに行き来しながらどこまでも伸びていくような複雑な植物の絡み合いを目で追いかける時、私はそれを絵にしたいと思います。絵にすると、葉っぱも影も同じ絵具になり、油絵具が紙に滲むと、前後に行き来する線はどこかで辻褄を失いポッカリと行き場を失った空間が生まれます。そしてその時、絵が始まります。絵の中で絵が生まれていく様子は、最初の植物から形も色も離れていっているはずなのに、どんどん植物らしくなっていきます。

 

絵の外と内を出入りし、実在と虚像が反転し、揺らぐ。絵とは、ゆらぎのメディアだと思います。絵と絵を見る人、その間に生まれる関係ーつまり絵というもの(素材、描かれている空間、展示される空間)が発する生気を人間が受け取り、人間の生がその絵の見方を変えてしまう、その営みの中に生まれる感覚の揺らぎによって、植物が風に揺れるように、絵の中にも風が吹くのだと思います。

 

紙は私にとって重要な素材です。紙の日常性、脆弱性、環境の影響を強く受ける特性には、ジャン・リュック・エニグが灰色を”色の揺らぎ”と言ったような、”存在の揺らぎ”を感じます。この紙という素材が多様に変形しながら、様々な関係性を持つことに関心があります。絵と人の関係性は、その展示方法によって大きく変化すると考えます。展示とはそのものがそこにある必然性を与える行為であり、私にとっては制作の一部分です。

宮原明日香

© 2016 by Asuka Miyahara

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