Narrative Act

2022.8.19 fri.-9.17 sat.

DiEGO 表参道/ Tokyo

物語を語ることは、語りの中で過去の出来事を〈関係づけて語る〉ことであり、他者が過去の生のさまざまな糸を何度も手繰りながら自分自身の生の糸を紡ぎだそうとするときに従う、世界を貫く一本の小道を辿り直すことである。(ティム・インゴルド『ラインズ 線の文化史』)

 

Narrative act(物語行為)は私が私を見るために有効な手段の一つです。

社会や時間との絡まりの中で織りなされる私について、出来事を関連づけながら、選択・配列し、Narrative(物語)を作り出します。紙の上においては読むことができる表面に置かれる痕跡としてNarrativeは出現しますが、紙を構造物として見た時に、紙と痕跡が形成される過程で生成される軌跡の存在に気がつきます。そこに至る過程での出来事、それと同時に起きている出来事、世界のなかでそれに続いて起こる出来事、などとの関係が交錯する中、自分自身を位置付ける、または意味付けるための選択しをし、配列した線を辿ることで、Narrative actは行われるのではないでしょうか。

 

表面から構造へ、軌跡へ、成り立ちへ、そして自己へ

あらゆる関係の絡み合いへの興味と自覚は生の在り様そのものを深くみつめることになるのではないかと考えています。

DiEGO表参道

https://diego-omotesando.shop/

Narrative act is one of the effective means by which I see me.
It creates Narrative by selecting and sequencing events, relating them to each other, about me as I am woven into the fabric of society and time. On paper, the narrative appears as a trace on a readable surface, but when we look at paper as a structure, we notice the existence of traces generated in the process of forming the paper and the trace. Narrative acts may be performed by making choices to position oneself or to give meaning to oneself, and by tracing the lines that have been arranged in the intermingling of the relationship with the events that have occurred in the process of getting there, the events that are occurring at the same time, and the events that follow in the world.

From surface to structure, to trajectory, to origins, and to self.

I believe that an interest in and awareness of the intertwining of all relationships will lead to a deeper look at the very nature of life itself.

DiEGO Omotesando

https://diego-omotesando.shop/

 

Note

2020.10.2 fri.-22 thu.

MARUEIDO JAPAN/ Tokyo

この度、MARUEIDO JAPANでは半澤友美「Note」を開催いたします。半澤友美は、紙の成り立ちに着目し独自の造形作品を創り出しています。植物繊維の絡まりからなる紙は、その原料を幾重にも重ねると強固な物体となります。半澤は日本の紙漉(かみすき)の技法を応用し立体作品を制作してきました。半澤は紙と自己に向き合い続け、その都度自己を顧みる記録として、まるでノートを取るかのように制作を続けています。今展覧会タイトルにもなった「Note」のシリーズは、金網に幾重にも紙の繊維を絡ませ積み重ねられた作品です。金網の人を寄せつけない金属的な強さと、紙の柔らかさを同時に併せ持っています。時間と記録が集積された作品たちは、会場で佇み現代の碑のように見た者に何かを問い掛けて来ます。

MARUEIDO JAPAN is pleased to announce that it will hold an exhibition by Tomomi Hanzawa called Note. Tomomi Hanzawa creates unique sculptural art which is focused on the origins of paper. She uses the raw materials for paper, which is made from the pulp of plant fibers, and takes that pulp to build up layers to create a solid object. Hanzawa creates three dimensional works by applying Japanese paper making techniques. Last year, in the atrium gallery of the Pola Museum of Art in Hakone, her ambitious installation “The Histories of the Self” featured an eye-catching exhibition collection of hundreds of artworks focused on one subject. As could be seen at that exhibition, Hanzawa continues to confront both paper and herself, and she is pursuing the creation of art like a form of note-taking to record her own reflections at all times.Her “Note” series, which also the title of this exhibition, are artworks that consist of paper pulp layered on metal meshes. These artworks simultaneously unite the metallic strength of metal meshes which have characteristics that repel people, and the softness of paper.They are artworks which integrate time and records, and that ask questions of the viewer standing in the exhibition space, and who are looking at the art as if it is a modern monument. We would be delighted if you could take this opportunity to visit our gallery, and experience the work of a very unique artist.

 

ポーラ ミュージアム アネックス展 2020 −真正と発気−

POLA MUSEUM ANNEX EXHIBITION 2020

2020.2.21 fri.-3.15 sun.

2020.9.26 sat.-10.11 sun.

ポーラミュージアムアネックス/ 東京

Pola Museum Annex/ Tokyo

公益財団法人 ポーラ美術振興財団

Pola Art Foundation

 

 

アネックス展前期チラシ.jpg

 

AiPHT PLUS

2020

パークホテル東京 / 東京

Park Hotel Tokyo/ Tokyo

thehistories_hotel.jpg

 

HIRAKU PROJECT VOL.9 The Histories of the Self

2019

主催:公益財団法人ポーラ美術振興財団/ 会場:ポーラ 美術館 アトリウムギャラリー

Organized by Pola Art Foundation/ Venue: Atrium Gallery, Pola museum of Art

 

 

本展では、開放的な展示空間の特性を考慮しながら丹念に制作された、約300枚の紙で構成するインスタレーションを初公開いたします。「The Histories of the Self」というタイトルは、このインスタレーションの制作方法に由来するものです。半澤は、植物の繊維が絡み合った、着色された原料を平らな板の上にスポイトで点々と垂らし、それを幾層も重ね、プレスにかけて一枚の紙を作ります。

こうして制作された数多の紙は、赤や朱、紫、褐色などの紙の原料の選び方や厚み、プレスのかけ具合などの条件によってそれぞれ異なります。紙の素材感豊かな本作品は、素材のもつ儚さやまだらな色のありようによって、不穏な雰囲気を漂わせ、観る者それぞれが積み重ねてきた時間の存在と向き合うことをうながしています。

Tomomi Hanzawa (1988 – ) creates her distinctive works using Japanese washi paper plant fibers as her materials. She has recently been producing three-dimensional pieces on a life-size human scale. The structures, like the human body, need a strong framework to support the bulk of the weight attached. Hanzawa chose a metal mesh for this framework. As clumpy paper pulp is poured, fibers become entangled in the net and, through a process of several repetitions, gradually flesh out a form. When dry, the solid material takes on a definite three-dimensional form, like a human body. Once the shape is finalized, inner and outer surfaces appear and, like the human spirit, have transformative influences.

 

While creating her three-dimensional and semi-three-dimensional forms in 2018, Hanzawa trained at a paper studio in the United States. She took the opportunity to also survey local handmade paper techniques in Mexico and Canada and produced her monotone Drawings on Paper (2018) series using local Kenaf and cotton fibers and the tamesuki papermaking method, whereby washi stock materials are applied in layers and pressed. As a result, these were flat, in contrast to her previous three-dimensional works. Repeated layering and pressing of different types of stock allowed random variations of thickness and pattern-like forms to emerge on the surface.

 

The Histories of the Self (2019) series featured in this exhibition developed from Hanzawa’s ‘drawings from papermaking.’ Each of the works in the series has its own character, depending on how red, green, purple, brown and other paper stock particles were layered and pressed. Hanzawa calls differences ‘personality’ and even refers to the works as ‘selves.’ Various elements make up a ‘self’ – the place one was born and raised, family, friends, etc. – and Hanzawa believes that stacks of fiber built through papermaking reflect such relationships. Even without a metal mesh framework, individual differences stand out because of irregularities in the flat surfaces. It is like the effect the changing context and color of the earth has on variation seen humans and in all living things.

 

The process of ‘drying’ is also an important element of Hanzawa’s work. The first step is, of course, to press out as much water as possible to allow the fibers to blend and then letting the paper dry slowly on a board. After that, it is necessary to allow time for persimmon tannin and color coatings to soak in, and for drying oil, such as linseed or walnut oil, to permeate until a soft gloss appears. Although Hanzawa tries to control the amount of persimmon tannin and drying oil, the drying time is affected by the environment and often does not go as planned. Other unexpected conditions and effects also arise. The works are self-contained and independent. This, actually, is what Hanzawa, is seeking.

 

新進芸術家育成交流作品展「FINE ART UNIVERSITY SELECTION 2016-2017」

2018 

アーツ千代田3331メインギャラリー / 東京

3331 Arts Chiyoda/Tokyo


 

See

2017 

JINEN GALLER /Tokyo

 

アーティストインレジデンス 南総金谷芸術特区/千葉 

KANAYA Artist in residence program "NANSO KANAYA GEIJUTSU TOKKU" /Chiba 

 

2017 

千葉・金谷にて行ったアーティスト・イン・レジデンス・プログラムで制作した作品。金谷の旅館「金泉館」の一室全て(畳、壁、天井、小物全て)に和紙を貼った。
金谷は観光客や若い移住者が多いという開かれた側面と、高齢者の多い昔ながらの集落という側面の両方を持つ町で、外人(ソトビト)と内人(ウチビト)を区別する昔ながらの思想を持ちながらも、変化しつつある今の時代に対峙し、お互いを受け入れようと試みていた。その区別は確かにあるものの、その境界は曖昧なものとなりつつあるようであった。私は部屋の全てに和紙を貼り、外/内、記憶/現在、私/公などの双方が行き来可能な曖昧な境界を作ることを試みた。現在における、人のあり方を探るための作品である。


I made this work in Artist-in-residence program in KANAYA,CHIBA. I put Handmede Japanese papers on the room (floor, wall, ceiling, accessories,All in the room) in the Japanese hotel. I attempted to create an ambiguous boundary where both outside / inside, memory / present, me / public etc. can come and go. It is a work to find out person's ideal relationship.

 

grey integument

2016 

ガレリアグラフィカbis /東京

galleria grafica bis /Tokyo