Works(1991-2001)

Alone 2000(コバヤシ画廊,2002)
Alone 2000(Kobayashi Gallery,2002)

   

   

Tears 2001(TAMON賞展 2001 )
Tears 2001(TAMON Award Exhibition 2001)

   

   

UNTITLED 1993(TAMON賞展 1995)
UNTITLED 1993(TAMON Award Exhibition 1995)

   

   

UNTITLED 1993(M展 1994)
UNTITLED 1993(M- Exhibition 1994)

   

   

黄色い木 1991 (TEPCOギャラリー 1992)
A yellow tree 1991 (TEPCO Gallery 1992)

   

   

ベートーヴェンの小径 1994 (M展 1994)
Beethoven’s small trail 1994 (M- exhibition 1994)

   

   

想 1994 (M展 1994)
Meditating 1994 (M- exhibition 1994)

   

   

声 Ⅰ 1998 (コバヤシ画廊 1999)
Voice I 1998 (Kobayashi Gallery,1999
声 Ⅱ  1998 (コバヤシ画廊 1999)
Voice II 1998 (Kobayashi Gallery,1999)

   

   


東京芸大陳列館(M展―木俣創志 博士後期課程研究発表展)   1994 .2月
Tokyo University of the Arts Exhibition hall (M-exhibition,’93 the doctor’s course research presentation exhibition ) 1994. February

   


Mirror that does not reflect anything

A single mirror hanging on Van Gogh’s “Bedroom of Arles”.
That mirror without any discretion is drawn with a casual brush that is likely him, and nothing is reflected. “Portrait of Mr. and Mrs. Arno Rufini” by Fan Ike, a dawn masterpiece of the oil paintings which has the mirror; though convex mirror, reflects the interior of the room – is totally different.
“Bedroom of Arles” that drew the mirror which does not mirror anything、 moved me deeply and made me call the glow of the mirror “the light of nihilism” without permission .
A “water pool” like a water glass, a common phenomenon in nature which is the typical motif I kept painting thanks to the fond impression received from “the bedroom of Arles” and with the feelings unique to adolescence.
As with Van Gogh’s “Bedroom in Arles”, the scenes that are rolling anywhere are still nothing special at all. However, the contrast between the “light of emptiness” made by a puddle and the rut carved by a large car such as a dump truck, seemed to be very beautiful for me.
Why is it so beautiful? I was looking for the answer, relying solely on the faint light on the surface of the water.
[2018. September]


何も映さない鏡

ゴッホの『アルルの寝室』に掛けられた一枚の鏡.
何の変哲も無いその鏡は,彼らしい無造作な筆致で描かれ,何も映さない.
同じく鏡のある室内を描いた油彩画黎明期の傑作,ファン・アイクの『アルノルフィーニ夫妻の肖像』――ここでは部屋の奥の凸面鏡に克明な室内が記録されている――などとはまったく異なる.
何も映さない鏡――私はかつてこの作品にひどく感動し,その鏡の輝きを勝手に“虚無の光”などと呼んでいた.
『アルルの寝室』から受けた感動と,青年期に特有の心情だけを拠り処として描いていたのが,水鏡のような“水たまり”などの,ありふれた風景だ.
ゴッホの『アルルの寝室』と同様,何処にでも転がっているシーンは,やはりちっとも特別なものではない.しかし,水たまりのつくる“虚無の光”と,ダンプカーなどの大型車によって刻まれた轍との対比が,私には,とても美しいものに思われた.
何故こんなに美しいのか.水面にかがよう微かな光だけを頼りに,その答えを探していた.
[2018.9月]