©KENICHI HAGIHARA
©KENICHI HAGIHARA
©KENICHI HAGIHARA
©KENICHI HAGIHARA
©KENICHI HAGIHARA
木：これから起こるはずのことに出会うために @ BIYONG POINT / Trees: Audition for a Drama still to Happen @ BIYONG POINT
Masumi’s Trees – 7 ink and watercolor drawings (45cm x 60cm) / Seeing through His Gaze – silkscreen print on fabric (280cm x 260cm) / For a Drama still to Happen – text (20cm x 13cm)
During her research in Akita, Nagasaka took an interest in the traveler, naturalist, and herbal medicine practitioner in the later Edo Period, Masumi Sugae and the tree drawings he made. She decided to incorporate the act of transcribing into her methodology to approach her subject matter: the Renaissance man and his tree drawings.
While this action was her attempt to take his point of view and attitude towards the trees into herself and have a deeper understanding of the depicted trees, it also had a potential and risk of creating discrepancies of impression and interpretation.
By voluntarily putting herself in a vulnerable situation by shaking her own point of view and attitude and consciously working with the discrepancies, Nagasaka developed a series of work to try opening an aperture for a drama still to happen.
木：これから起こるはずのことに出会うために
真澄の木 – 7枚の水墨彩画 (45cm x 60cm) / 彼の眼差しを通して見る – シルクスクリーン印刷をした布 (280cm x 260cm) / これから起こるはずのことに出会うために – テキスト (20cm x 13cm)
今回の秋田での滞在制作において長坂は、江戸時代後期の紀行家、博物学者、そして本草家でもある菅江真澄と彼が描き残した「木」の図絵に着目し、「写す」という行為を介して、菅江真澄と彼が描いた木に接近しようと試みました。
写すという行為は、菅江真澄が木に向けていた視線や姿勢を自身の中に取り入れ、描かれた木々について理解を深めるための行為であると同時に、印象や解釈の「ずれ」を生み出す可能性をはらむ行為でもあります。
長坂は自身の視線や姿勢を揺るがせ、自らを危うい状況に置き、意識的に「ずれ」と向き合いながら作品制作を行うことで、これから起こるはずのことに出会うための空隙を開こうと試みました。
