RESIN ART WORKS
アローンバトル 死を従える女神／ALONE BATTLE -Goddess who obeys death-
髑髏の頭に手を置いて立つ女神は死に支配され、傷だらけの姿で立ち続ける。目隠しされて叫び、口封じされて睨む男は、女神の胎に逃げ込み静かに目を閉じる。女神は心で泣いている。
The goddess stands with her hand on the head of a skull, ruled by death, and continues to stand covered in scars. The blindfolded man screams, his mouth is sealed and glares at him, and he escapes into the goddess's womb and quietly closes his eyes. The goddess is crying in her heart.
アローンバトル 死と組み合う男／ALONE BATTLE -A man grappling with death -
死に誘う髑髏を、遠避けるより寧ろガッチリ組み合う男。傷だらけで立ち続けるその姿は、ドクロに支えられている様にも見えるし、腹に取り込んでいる様にも見える。死と肩を組む事でしか立つ事が出来ないのか。男は心で泣いている。
A man who firmly grapples with the skull that invites death rather than avoiding it. The figure that continues to stand covered in scars looks like it's being supported by a skull, and it also looks like it's being taken into its stomach. Is it possible to stand only by standing shoulder to shoulder with death? The man is crying in his heart.
アローンバトル／ALONE BATTLE
この連作では、僕と女神それぞれの孤独な闘いをテーマにしています。心では涙を流しても、傷だらけで立ち続ける意志。涙を流しながら自分自身に寄り添う心象と、傷だらけで立ち続け痛みに耐える現実を同時に描いています。僕は心で泣きながら、現実では死を掌握する事で自身の生を保ち、傷だらけで立ち続けます。髑髏は死に誘うばかりで、心で涙する僕の口を封じて意志や発言を奪ってしまう。女神は叫ぶ僕に、苦痛に目を向けない様にそっと目隠しをしたまま、心で泣いて痛みに耐えて立ち続ける。死に支配されそうになった僕が、孤独の中で闘いに勝利するまでの記録と、全てを乗り越えた時に立ち現れた傷だらけの女神像です。
In this series, the theme is the lonely struggle between me and the goddess.Even if you shed tears in your heart, the will to continue standing full of scars.It simultaneously portrays the emotional image of being close to yourself while shedding tears, and the reality of standing still full of scars and enduring pain.I cry in my heart, but in reality, I hold onto death to keep myself alive, and I continue to stand full of scars.The skull only invites death, it seals my mouth and robs me of my will and words as I cry from the bottom of my heart.As the goddess screamed at me, she gently blindfolded me so as not to look at me in pain, crying in my heart and enduring the pain.It is a record of me, who was almost ruled by death, until I won the battle in solitude, and the scarred goddess statue that appeared when I overcame everything.
セブンデイズバトル／SEVEN DAYS BATTLE
この連作に描かれる７つの頭部は１週間を表します。生きているのに死んでいる様な日々を繰り返し、堂々巡りで何も事が進まない7日間は非情にも繰り返します。僕がおよそ１年間抜け出せなかった負のループを描いています。僕と、髑髏と、女神の戦いを記録した3部作です。僕が流した涙は翌週には雨となって自分に降り注ぎ、顔をすっかり覆い隠します。髑髏に支配され、時に飲み込まれ、時に口封じされ、時に抵抗します。女神は髑髏が死に誘う力を無力化し、踏みつけ、僕が流した涙が体中を突き刺しても立ち続けます。死に支配されそうになった僕が、繰り返す時間を浪費することで精一杯だった日々の記録と、全てを乗り越えた時に立ち現れた、僕の涙が突き刺す女神像です。
The seven heads depicted in this series represent one week. I repeat the days when I feel like I'm dead even though I'm alive, and the 7 days when nothing progresses in a roundabout way repeats ruthlessly. I'm drawing a negative loop that I couldn't get out of for about a year. A trilogy that records the battle between me, the skull, and the goddess. The tears I shed will rain down on me the next week, completely covering my face. It is dominated by the Skull, sometimes swallowed, sometimes sealed, and sometimes resists. The goddess neutralizes the deadly power of the skull, tramples it, and keeps standing even when the tears I shed pierce through my body. It is a record of the days when I was almost overwhelmed by death, wasting time on repeat, and the goddess statue pierced by my tears that appeared when I overcame everything.
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人生(20歳の自画像)／Life(Self-portrait at 20 years old)
20歳、30年前の自画像。2浪目の夏、インドの安宿で作家の道を歩むと決意。希望に満ちた決意に聞こえるかもしれませんが、重責を自らに課した重苦しい決断の瞬間でした。生きている限り描き続けるという決意は、裏を返せば描かないのなら死んだも同然だと、未来の自分に生きる為の条件を課したのです。画家としての社会的成功を目指すのではなく、表現する事に命を捧げ、惨めな思いをしながらでも死ぬまで描くのだという泥臭い決意でした。徹底的に自己に向き合い、自我が全身に溢れ、決意の瞬間から死に捕らえられた当時の姿を描いています。
Self-portraits from 20 and 30 years ago. In the summer of his second year of taking the Tokyo University of the Arts entrance exam, he decided to pursue a career as a writer in a cheap hotel in India. It may sound like a hopeful decision, but it was a moment of heavy decision that I placed on myself. My determination to continue drawing as long as I live meant that if I didn't draw, I would be as good as dead, and I set a condition for my future self to live. Rather than aiming for social success as a painter, he devoted his life to expression, and was determined to continue painting until he died, even though he felt miserable. It depicts a time when he thoroughly faced himself, his ego overflowing throughout his body, and from the moment he made his decision he was seized by death.
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人生(80歳の自画像)／Life(Self-portrait at 80 years old)
80歳、30年後の自画像。僕が真の人生をスタートさせた20歳から、60年後の80歳を人生の終幕（筆を置く時点）に設定して描きました。下から、20、30、40、50、60、70、80歳の顔が並びます。40歳近辺は、末期癌の母の介護を最優先した為に2年間全く絵を描かず、その後は死別の哀しみでボロボロでした。母との死別やその後の鬱で一度死んで復活した今、やっと落ち着いて制作出来ています。50歳の現在、人生の折り返し地点から後半の人生を改めてスタートします。遺作が最高傑作になる様に、作家として人生を積み重ねたいという願いを込めて、この先の人生にダンボールを積層しています。枯れる事なく、最期迄進化し続けたい。
I painted it with the setting at the end of the curtain (the point at which I put down the brush). From the bottom, faces of 20, 30, 40, 50, 60, 70, and 80 years old are lined up. Around the age of 40, I didn't draw at all for two years because my top priority was caring for my mother, who was terminally ill with cancer, and after that I was devastated by the sadness of bereavement. After dying and recovering from the loss of my mother and subsequent depression, I am finally able to calm down and create. Now, at the age of 50, I am starting the second half of my life anew. I am stacking cardboard boxes over the rest of my life with the hope of building up my life as a artist so that my last work becomes a masterpiece. I want to continue evolving until the end without withering away.
連鎖／Chain
死の象徴である髑髏と自画像を並列させて、自我の階層に囚われたナルシズムを描いています。自身の生と死だけが存在する、哀しくも滑稽な世界。横並びの目は時に入れ替わり、まるで死者になったかの様に髑髏の眼窩に入り込みます。今後は自画像から離れて、普遍的なテーマとしてシリーズ化させたい。
The skull, a symbol of death, and a self-portrait are juxtaposed to depict narcissism trapped in the hierarchy of the ego.A sad yet comical world where only your own life and death exist.The side-by-side eyes sometimes switch places and enter the eye sockets of the skull as if they had died.
サーキュレーション／CIRCULATION
この連作では、僕と髑髏が出たり引っ込んだりする時間軸における反復を描いています。生きているような死んでいるような日々における循環は、この様な２種類の配置を行き来して、時間の流れを相殺していました。
In this series, I draw a repetition in the time axis where the skull and I appear and retreat.The cycle of living and dead days went back and forth between these two types of arrangements, offsetting the flow of time.
髑髏／Skull
死の象徴であると同時に、逆説的に生命の象徴でもある髑髏。グラフィカルな要素を盛り込んで、髑髏の多面的な表情を展開して行きたい。
The skull is a symbol of death, but paradoxically it is also a symbol of life.Incorporating graphical elements, I would like to develop the multifaceted expression of the skull.
ボトムオブザウォーター／BOTTOM OF THE WATER
このシリーズは、僕が好きな遺跡や古い仏像や石像に思いを馳せて描いています。透明樹脂が硬化時に起こす熱暴走で生まれる気泡を利用して、水底で安らぐ様な目を閉じた顔を描いています。子宮への回帰とも言える穏やかな作品を目指しています。飾って心安らぐシリーズとして、今後も楽しみながら制作して行きます。
This series draws on my favorite ruins, old Buddhist statues and stone statues. Using the air bubbles generated by the thermal runaway that occurs when the transparent resin hardens, I draw a face with closed eyes that seems to be at peace at the bottom of the water. I am aiming for a calm work that can be said to be a return to the womb. I will continue to enjoy creating it as a series that will make you feel at ease when you decorate it.
惑い／Confusion
熱暴走の気泡で絵の殆どが消えてしまった後に、コラージュで作品に昇華しました。ある程度意図的な破壊を制作行程に入れていますが、想像を超える破壊程恐ろしいものはありません。ですがリアリティがあります。失敗をくぐり抜けた惑いの中で再生を果たした行程の全てが、レイヤーとなった作品です。惑いながらも前進する軌跡を、今後も提示出来たらと思います。
After most of the painting disappeared due to thermal runaway bubbles, it was sublimated into a work with collage.There is a certain amount of intentional destruction in the production process, but there is nothing more terrifying than destruction beyond imagination.But there is reality.It is a work that has become a layer, all of the processes that have been regenerated in the hesitation of going through failure.I hope that I can continue to show the trajectory of moving forward while being confused.
醒めたまま／Stay awake
目を開けたまま棺桶に収まり、自らに花を手向ける様な不毛な日々。女性の顔を描きましたが、制作当時の自身の姿です。
Barren days like sitting in a coffin with your eyes open and offering flowers to yourself.I drew a woman's face, but it is my own appearance at the time of production.
Statement
傷や痛みに焦点を当て、破壊と創造の行程を経て輝きに転化する逆説的な強さや美しさを描いています。「RESIN 死と再生」シリーズは、ダンボールを支持体に、樹脂を含浸し硬化させた半立体作品です。制作工程は明確に4段階に分かれており、それぞれの工程に象徴的な意味を持たせています。積層ダンボールに絵を完成させ→ナイフで絵を傷付け→半立体に再構築→樹脂で硬化、という4工程は、誕生（二次元）→死→再生（三次元）→永続性の付与、を意味します。この神話的時系列を制作行為で辿る事は、完成への道程において必要不可欠なイニシエーション（通過儀礼）の役割を果たします。制作行為に象徴的意味を重ねる事で、より強く作品にイメージを刻もうと試みています。
作品に登場するのは、私をはじめ、死を象徴するドクロ、傷だらけの女神が中心となります。そこに時間の概念を重ねて物語を描いています。無宗教の私が自己救済を主たる目的に描く、オリジナルの神話的世界です。傷や痛みの先に在る生命の姿が、私の眼前に力強く現れる事を願い、祈る様に制作しています。
Focusing on wounds and pain, she depicts the paradoxical strength and beauty that transforms into radiance through the process of destruction and creation. The "RESIN Death and Rebirth" series is a semi-3D work that uses cardboard as a support and is impregnated with resin and hardened. The production process is clearly divided into four stages, and each step has a symbolic meaning. The four steps of completing the picture on the laminated cardboard → scratching the picture with a knife → reconstructing it into a semi-solid shape → curing with resin mean birth (two-dimensional) → death → rebirth (three-dimensional) → imparting permanence. To do. Tracing this mythical timeline through the act of production serves as an essential initiation (rite of passage) on the path to completion. By adding symbolic meaning to the act of production, I am trying to carve a stronger image into my work.
The main characters that appear in the work include myself, a skull symbolizing death, and a goddess covered in scars. The story is written by layering the concept of time on top of that. This is an original mythical world that I, a non-religious person, draw with the main purpose of self-salvation. I work as if I were praying, hoping that the life beyond the wounds and pain would appear powerfully before my eyes.