作品のテーマについて 神社や縄文土器が好き。縄文土器を見ていると胸が熱くなる。僕がいるこの同じ場所で何千年も前の人たちが作り上げた作品。それらの作品からは非常に強い生命力を感じる。それだけではない、対象を図像化・象徴化するする高度な知性も感じる。たとえ何千年も前だからと言っても、その作品を作ったのは僕達と何も変わらない人間そのものだ。 縄文文化に興味を持ったのは作品のテーマである道祖神について調べている最中だった。道祖神とは私の地元の辻に佇む石の像である。 そもそも道祖神のことを調べはじめたのは、東日本大震災ですさむ町の辻に佇んでいる石仏を見つけたことがきっかけだった。身の回りのものも満足に入手できない時にその石仏にはお花などのお供え物がしてあった。人の祈りを一身に受けるはるか昔から道の辻に佇み行き交う人々を見続けてきた石仏。「ああ、彼らは未だに人々の拠り所となっているんだ。」と心打たれた。 そこで僕はただただこのような存在を自分でも創り上げたいと思うようになった。 石の像は町の辻や境界に祀られることで、人々、動物、植物、自然現象、その他訳のわからない者をもひっくるめたあらゆる者達が行き交う空間の中心にいる。 またそれは縄文の遺構から見つかる石棒の信仰にも深く関わっていることから、様々な者達の時間的な繋がりを示す中心でもある。つまり様々なものが生きてきた証が蓄積されていく場所でもあるのだ。 以上のような性質を持ち先にも述べたように人々の祈りの対象・心の支えになっている石の神様や生命力にあふれた縄文土器のような作品を作り上げるためにはどのように描いたらいいのかと日々問いながら制作している。
About inspiration of my artworks I am interested in shrines and JOMON potteries. Thousands years ago, JOMON potteries were made by acient human who lives same place where I am. I feel not only storong life enaery but also advanced inteligence to symbolize eveything. Although they were living in this world long years ago , they are not different from us. When I researched about DOSOJIN(traveler's gardian deitiy), I knew the relations of it and JOMON culture. I came to be interested in JOMON culture. DOSOJIN are stone statues of spirits or gods, and standing every crossings and boudarys in my hometown. I found a stone statue in a crossing, when everybody were sunk in a sad feeling by the Great East Japan Earthquake. Regardless of the shortage of everything, offerings (such as flowers and foods) were offered to it. People pray stone statues for their safety, the prosperity of descendants and so on. Stone statues have been gazing at them for a long time. I was impressed with the fact they are still emotional support for modern people. I decided to make artworks like those. The stone spirits are central existences of everything (human, animals, plans, natural phenomena, and so on including invisible existence), because it is worshiped in crossings or boundarys. And, because stone spirits are related to faith to stone bar in jomon era, they are central existence of time connection. In other words, they are standing in the place where trails of every lives are accumulated. I paint everyday, thinking about the way to paint to make artworks like stone spirits and JOMON potteries which I described above.
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■縄文土器 地元で発見された縄文中期の土器。カエルや月、人頭等のシンボルが粘土で造形されている。 ■JOMON potteries Thousands years ago, JOMON potteries were made by acient human who lives same place where I am. I feel not only storong life enaery but also advanced inteligence to symbolize eveything. Although they were living in this world long years ago , they are not different from us. I imagine the ancient world from these relics. |
■神社 道祖神から調べ始め、日本の宗教的な対象に興味がある。縄文文化との繋がりも。 ■stone statue DOSOJIN are stone statues of spirits or gods, and standing every crossings and boudarys in my hometown. I found a stone statue in a crossing, when everybody were sunk in a sad feeling by the Great East Japan Earthquake. Regardless of the shortage of everything, offerings (such as flowers and foods) were offered to it. People pray stone statues for their safety, the prosperity of descendants and so on. Stone statues have been gazing at them for a long time. I was impressed with the fact they are still emotional support for modern people. I decided to make artworks like those. The stone spirits are central existences of everything (human, animals, plans, natural phenomena, and so on including invisible existence), because it is worshiped in crossings or boundarys. I paint everyday, thinking about the way to paint to make artworks like stone spirits and JOMON potteries which I described above. |
■民俗学、考古学
■Ethnology and archaeology |