展覧会会場で見たその時に、まるでたった今出来上がったかのような、今にも動き出しそうな、さっきまで動いていた気配を感じるような作品をつくりたいと考えています。
私は日常生活のなかで目にする蝶番やクリップ等に興味があります。金具そのものを観察していると、そこに想定される力学や物と物を繋ぐその構造と機能に惹かれます。仮止めのようであり、物理的に編集可能な性格は、可変的な私の作品を構成し、決定します。
バラバラとしていたものが組み上がる時のような、何かが立ち上がる瞬間に立ち会える時間として、そして、その後も変わる可能性を示唆する意味で展覧会タイトルを「editing（編集中）」としました。

I want to create works that, when peoples see them in the exhibition space, feel as if they have just been completed, that they are about to start moving, or that they have been in motion until just a moment ago.
I am interested in hinges and clips that we see in our daily life. When I observe the metal fittings themselves, I am fascinated by the dynamics assumed there and the structure and function that connect things. Binders and clips have temporarily and physically editable functions and the structures of my pieces is determined by that.
I named the exhibition "editing" in the sense that it is a time to witness the moment when something comes together and to suggest the possibility that things will change even after that.

Photo : Koichi Nishiyama

Curated by Banana Art

Photo : Koichi Nishiyama, Takuro Usui, Shoko Masunaga

This exhibition “SCENE” is a series of exhibitions that began to take on the characteristics of Time & Style as a unique interior design shop and create an exhibition that focuses on the shop as a whole. This exhibition is the fifth in the series, which started to create a scene (SCENE) for the artists to come into contact with the shop and its customers.

In SCENE 5 “exercise,” based on the purpose of “SCENE,” we will focus on the “product display” to propose and introduce the products. The exhibition was designed to allow visitors to experience the difference between a “display exhibition” and an “art exhibition.” 

In the interior shop, where people and products are constantly changing, and the display environment is continuously moving, the two artists have taken on the atmosphere of the shop and the products more flexibly, and based on their own experience and senses as artists, they have created an exhibition in which you can experience their approach to display.

*exercise: a variety of practices that use the head and body. It implies the consolidation and development of current skills, wisdom, and techniques.

Takuro Usui’s work is a series of installations and videos that use the shapes and patterns of familiar everyday objects, the environment, and the materials that make up the situation. Usui’s work is based on the artist’s awareness of the changes and discomforts that can occur from the minimal processing and experimentation of everyday objects.

The work of Shoko Masunaga is based on the artist’s subjective perception of the environment in which her work is created and on certain rules of painting and sculpture. The result may be a repetitive pattern or shape or a borrowed outline from the environment, but it is always an extension of the artist’s sensory act of drawing.

Although the two artists’ approaches to expression are different, they share a common denominator in that their work develops in various ways in response to the environment.

In the context of this exhibition, we invite you to discover the characteristics and differences between the two artists and their interaction with Time & Style’s products.

The exhibition will be constantly fine-tuned, and the works will be replaced according to the situation to comply with the purpose of the exhibition.

Curated by Banana Art

私の作品の多くは絵画と彫刻を横断するような形態で、作品がおかれる環境・スペースとの関係性から思考をはじめる為、その制作方法は多岐に渡りますが、それらに共通しているのは入れ替え可能、 置換可能な性質を持った動的な絵画と言えます。

LOKO GALLERYへ初めて訪れた時、その外観に、黒く重厚な三つの箱をズラしたようなイメージを持ちました。そんな個々人の経験は、少なからず中に展示されている作品の印象にも影響すると私は考えます。明るい色彩のものはより明るく軽やかに見えることがあるかもしれないし、その逆の可能性 もあるでしょう。ひとたび身体がその建物内に入ってしまうと天井が高く自然光が入るその空間の作用で、外の様子を忘れる人もいるでしょう。個々に違う眼、体験を持っていることに加わって、毎日、毎時変化する自然光の作用により、作品の見え方はより分岐してゆくと思います。

そんな場所で、近年始めたキャンバスを積み上げて設置する作品を発表したいと思います。 床と壁、建築に依存しながら、絵画として、何かできることがあるのではないかと始めた作品からの展開です。1Fでは積み上げる設置ですが、2Fの空間では天井から積み、下がる設置に挑戦し、1Fと3Fに挟まれた、少し圧迫感のある空間をつくることで、LOKO GALLERYの外側を内部から思い出すことができたらと考えました。目の前に見えていない場所を思う契機になったり、周囲の環境の何かに気づいたり、そういう機能を持った作品をつくりたいと思っています。

私の制作では、ルールやアルゴリズムを設定してから手を動かし始めることがほとんどです。そうして、なるべく自分の身体、特に手と眼に染み付いた感覚的な独自の互換性のようなものを避けようとしています。どうやって自分で、自分とは違うものをつくり出せるのか、また出会えるのかと考えています。 また、ルール設定については、”ルールを自分で作ることができる自由”が私の思想と繋がっている実感があります。

今回のルールは、鉛筆のように接近して線を引く道具を使用する際に、必ず他の支持体の輪郭を定規のように使用するということ、そして互いの支持体を干渉しながらも個々（キャンバス・パネルごと） に独立することです。支持体（ここではキャンバスとパネル、木枠を指します）の上に描かれるのが 別の支持体の輪郭であり、今使用している支持体も、別の支持体のモチーフになりうるという、立場が入れ替わることを繰り返します。それらは相互関係で出来ており、置換可能ですが、肩透かしのような関係性もあり、特定の作品、色彩に視点が定まることを避けています。

モチーフと支持体が瞬く間に入れ替わったり、配置により異なって見える微妙な色彩を用いることで、物理的な意味以外でも動的な絵画が提示できればと思います。

Painting and sculpture intersect in many of my works which begins by considering the relationship of the environment or space where it is exhibited. Therefore, the artistic means is widely ranged, although there is one thing in common – that the painting holds dynamism and is available for exchange and replacement.

When I first visited LOKO GALLERY and saw its exterior, I received an impression as if three black, massive boxes were piled up, slightly unadjusted. In my opinion, this personal experience influence how the exhibited works inside may be seen in no small way. Those brightly colored may seem even more brighter and lighter, or the other way around. Once the viewer’s body enters a space with high ceiling where natural light comes in, they may forget what they saw outside. Beside the fact that each has different eyes and experience, how the works are seen diverge by the effect of natural light which shifts by each hour, each day.

At such a place, I will present my recent works which consist of piled up canvas.This series developed from questioning what paintings could do by depending on architectural features such as the floor or the wall. At the ground floor, I pile up from the floor, while at the second floor I challenged to pile down from the ceiling¬ to make the space – sandwiched between ground floor and 3rd floor – have a glimpse of pressured feel to retrieve the exterior of LOKO GALLERY from the interior.

I want to create works that makes the viewers to recall places unseen in front of them or lets them discover something from the surrounding environment.

Before I begin my creative process, I start by setting rule or algorithm so that I could avoid the unique compatibility happening naturally on my body, especially those in my hands and eyes, as much as possible. I always try to create or encounter something different from myself by myself. When I set some sort of rule, I have a solid sense that “the privilege to create a rule by myself” is connected to my philosophy.

This time, as a rule, I decided to use the outline of a support as a guide when drawing lines on a different support and let each support (such as canvas or panel) become independent while interfering to each other. What is drawn on the support as a motif is the outline of another support – vice versa could happen and repeat replacement. This is realized through correlation and is replaceable, somewhat tricky, which keeps our point of view unsettled from particular piece or color.

I intend to present painting with dynamism beyond physicality through instant replacement of the motif and support, and the shift of subtle color when the arrangement is changed.

Youtube

Photo : Kunihisa Fukuda, Shoko Masunaga
Movie : Kunihisa Fukuda