EXHIBITION

見た目が汚いものが、汚いのか。
たとえば汚い言葉を誰かに吐いたとして、そのとき心の底にある感情は汚いのか。
10代の頃より作品は美しくあるべきだと思い作品を制作してきたが、美しさを追求するあまり、美しさの対極にある世界や自身にある負の感情に当然のことながら向き合わざるを得ず、ならばそれを体現しようと生まれた作品である。
自身が見たくはないもの、他者に晒したくない感情がうずまく世界を作品に吐き出すべく制作したが、作品として完成する時点で、結果として美しくさえあってしまう。
不可逆的な美しさなど存在せず、メビウスの輪のように、美しさと美しくない世界とは、いつも共存しているのである。Are things that look foul, indeed foul?
For example, if one were to utter foul words to someone, in these moments do foul emotions lie in the depths of one’s heart? Since my teenage years I have produced works with the belief that such must be beautiful, however when in pursuit of beauty there is naturally no choice but to confront the world that exists on the opposite end of the spectrum, as well as the negative thoughts that reside within the self. This work was born through an intention to embody these considerations.
Although I had created the work in hopes to convey a world that wreathes with the things I wish not to see and the emotions I wish not to reveal to others, the works at their completion, had consequently come to harbor an air of beauty. Irreversible beauty does not exist, and like a Mebius loop, the world that is beautiful and that which is not, are always in coexistence.

20代の男女から当時88歳の老婦人まで、老若男女の掌（てのひら）を撮影し、私自身がその世代に抱く理想像や、被写体となった当人が持っているもの、重ねてきた時間を掌の上に合成した。
無花果は果実の中に花が咲いていて、外から見たら花は見えない。字面から無花果には花がないと誤解されがちだが、実際は実の中に花が咲く。
どのような作品にするか被写体と対話を重ね、関わりを深めるなかで被写体の秘めたる歴史や内面性が浮かび上がるさまは、普段は実に包まれ外からは見えることのない無花果の花に出会ったようだった。
誰しもに重ねてきた時間があり、これからも紡がれる物語があるのである。 それがたとえ目に見えなくても。I photographed the palms of men and women of all ages, from a young couples in their twenties to an 88 year old woman. Upon their palms I superimposed the respective ideals I have towards those generations, as well as the various things belonging to the photographed subjects, and the very time that they have lived.
Figs trees bear their flower within the fruit, and thus the flower cannot be seen from the outside. Due to its kanji character (lit. “ichijiku” = no flower fruit) it is often misunderstood that they have no flower, when in fact they blossom within.
The manner by which I engaged in a dialog with the subjects as to what kind of work to create, with their concealed histories and inner nature emerging due to deepening our relation to one another, was indeed like encountering a fig tree flower that is ordinarily hidden within the fruit and remains unseen.
Although it cannot be seen, everyone harbors a passage of time in which they have lived, and a narrative that continues to unravel into the future.

世界12カ国を旅するなかで出会った風景に心を奪われ、「ここにあんな光があれば、もっときれいなのに」という思いに駆られ着想を得た。
こんな風景を見たい、こんな光景があったらと自身が思う理想の世界が構築されている。
トルコのホテル、イギリスの教会、アメリカの自然、長野の霧……。
世界各地の風景が重ねられ生まれた世界に鑑賞者自身が入っていくことで、作品世界に流れる時空を一人ひとりが旅し、ファンタジーでもあり現実でもある世界で遊んでいってほしい。The work is inspired from my experience of traveling in 12 countries across the world, and how I felt the landscapes that had moved me emotionally would “look more beautiful depending on the nature and positioning of the light.”
What are constructed are ideal worlds that I envision, which exist as manifestations of the landscapes and scenery that I wish to see.
From a Turkish hotel, to an English church, the great American outdoors, and Nagano enveloped in mist, as viewers themselves enter worlds that have been born by overlaying the landscapes of various locations across the globe, I wish each to their own are able to journey through the space-time that flows through the work, spending a moment to enjoy a realm that is both fantasy and reality.