Painting of marble
In recent years, I have created works using a method that asks the question, ‘how does your sense of value interpret the difference between authentic and artificial?’ of the person who is looking by changing the surface layer of an image of something authentic to that of an image with a sense of strangeness, but, to tell you the truth, the act of actually painting marble is the first time I have managed to find this method.
I am very aware of gravity when I am painting marble. The reasons for this are as follows. Marble is a deposit that has sealed in the spirit of nature and time - the primitive landscape that was made of magma, the earth, water and air that flourished full of greenery, flora and fauna and gravity controls all of this.
Nature is beautiful. Nature sometimes exhibits formative art that cannot be expressed in words. However, on the other hand, there is no compassion in nature. Humans are powerless before the might of nature – they fear it and worship it. We should live in pursuit of a state in which everything is laid open, nothing is in doubt and nothing is clouded.
The reason I gave the title of GRAVITATIONAL FIELD to this series is because I felt that I would like to paint the cosmos that dwells in a fragment of the landscape that contains all things in the nature of heaven and earth. I believe that through the further disassembling of imitation space as in pictures that express three dimensions in two dimensions depending on perspective and the painting of gravitational fields in the middle of freedom and restraint, landscape can be derived – what do you think?
AKIRA ISHIGURO
GRAVITATIONAL FIELD
大理石絵画
近年、イメージの表層をすりかえることにより本物と紛い物の価値観を問い掛ける手法で作品を制作して来たが、実は大理石を描くという行為は自分自身がこの手法に行き着くに至った最初の出来事だった。
僕は大理石を描く際に重力を強く意識する。自然の氣や時間が封印された堆積。原始の風景はマグマであり、大地であり、大気であり、水であり、その上に緑が繁り動植物が繁栄した。それら全てを支配しているのが重力だからだ。
自然は美しい。自然は時に絵も言われぬ造形美を見せ付ける。しかし一方で自然に慈悲なんてものはない。自然の前に人は無力であり、恐れ、崇拝する。仏教でいう所の帰依三宝を軸に真理に照らして生きるべきなのだろう。
このシリーズにGRAVITATIONAL FIELDというタイトルを付けたのは天地自然の森羅万象を内包する景色の断片に宿る宇宙を描きたいと思ったからだ。遠近法により三次元を二次元に表現した絵画という紛い物の空間を更に解体し、自由と制約の中で描く事こそが真の風景画ではなかろうか。
石黒 昭
