Note

展覧会の概要 ー MARUEIDO JAPAN

 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。昨年、箱根のポーラ美術館アトリウムギャラリーでの大掛かりなインスタレーション「The Histories of the Self 」では、会場に何百枚の連作を展示し大変注目を集めました。その展示でも見られたように、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。是非この機会に会場で体感していただければ、嬉しく存じます。

 

Outline of the exhibition ー MARUEIDO JAPAN
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.

Note 半澤友美

MARUEIDO JAPAN / 東京

Note HANZAWA Tomomi

MARUEIDO JAPAN, Tokyo

ポーラミュージアムアネックス展 2020

-真正と発気-

ポーラミュージアムアネックス/東京
 

Pola Museum Annex Exhibition 2020

"Authenticity and Aura" , Pola museum annex , Tokyo

note.jpg

 

Note  2020/ h1,860xw1,860xd60mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

place.jpg

 

Place  2020/ h1,860xw1,860xd60mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

 

備忘録  2020/ w315xd315xh420mm/ 木材パルプ 、楮、顔料、漆喰、金網

note to self  2020/ w315xd315xh420mm/ Wood pulp, mulberry, pigment, plaster, wire mesh

 

brick of note #1〜#6  2020/ h1,860xw1,860xd60mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

 

pages  2020/ 170x180x145mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

 

note/one day #1〜#6  2020/460x80x460mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

note/drawing

 

note/drawing #4〜#12  2020/283x30x230mm/ 木材パルプ 、楮、顔料、漆喰、金網/ Wood pulp, mulberry, pigment, plaster, wire mesh

 

造形作家の半澤友美(1988-)は、紙の原料となる植物繊維を自在に操り、2次元的ないし3次元的な独自の造形物を創り出す。
たとえば、2018年に発表した《Some Rooms》(2018)は、楮と麻の繊維を金網に絡ませた高さ1.5メートル、幅3メートルの屏風状の作品であるが、繊維の痕跡が顕わとなったその構造体の存在感は展示空間において際立つものの、周囲の環境と相互に作用しながら、穏やかに共生するかのようであった。一方、2019年に箱根のポーラ美術館で発表した〈The Histories of the Self〉と題されたシリーズは、おもに赤や赤紫に染めた紙料(紙漉きの原料)を調理用スポイトで平面上に点々と垂らし、それを幾層も重ねたものに圧をかけて一枚の矩形のシートに仕上げたものである。300枚におよぶ有機的な平面作品を、床や壁面に並べて取り付けた壮大なインスタレーションは、コンクリートや大理石、ガラスを主材とする無機質な建築空間との調和を生み出すこととなった。
 さて、現在、半澤が取り組んでいるのは、紙の繊維を菱形の金網に絡ませて作る矩形の半立体作品である。金網に規則的に凹凸をつけるとそこに空隙が生まれ、金属に紙の繊維を絡ませることで徐々にその空隙はハニカムの孔(正六角形というよりはむしろ中空円筒状)の様相を呈する。繊維の量を増やせば増やすほど無作為的で複雑なテクスチャーが形成され、さらに漆喰と土性の絵具を効果的に施すことによって、硬軟相俟った独特の視覚効果が生み出される。半澤はこのような特徴的な半立体オブジェとともに、それを何層にも重ねることによって濃密な立体的な作品(立方体オブジェ)を創り出すことにも挑戦している。
 半澤はいかなる形態の作品を創ろうとも、最も重要視していることは各作品における紙の独自性である。半澤はそれを「個性」と呼び、また作品そのものを「自己」と呼ぶ。一般的に自己は様々な要素(生まれ育った場所や家族、友人など)との関係性で成り立つように、半澤の作品もまた繊維の積み重なりや繊維どうしの繋がり、時としてそれらを物理的に支える物質(金属など)との関係性によって成り立つ。さらに作品は、それを取り巻く環境へと作用を及ぼし、また及ぼされるのである。半澤は自身の作品を通して、見る者との関係性を構築することを希求し、見る者からの反作用に期待を寄せている。

内呂博之(ポーラ 美術館学芸員

Artist Tomomi Hanzawa (born 1988) freely manipulates plant fibers which are the raw materials for paper, and produces unique 2D and 3D molded objects.
For example, her art piece "Some Rooms" (2018) is a folding screen-like work made of paper mulberry and hemp twined in a metal mesh, which is 1.5 meters tall and 3 meters wide. However, the presence of this structure, which gives expression to the traces of fibers, stands out in the space of the exhibition room yet at the same time, seems to interact and live in harmony with the surrounding environment. On the other hand, in her series entitled "The Histories of the Self," which was exhibited at the Pola Museum of Art in Hakone in 2019, she used a cooking syringe to apply drops of a raw material for paper, which had been dyed red and reddish purple, onto a flat surface, and by applying pressure onto layers of these drops she created singular rectangular sheets. This magnificent installation of 300 organic flat artworks, which for the exhibition were mounted across the whole floor and walls, created a harmony with the principally inorganic, being made of concrete, marble, and glass, building space.
 Now, Hanzawa is tackling rectangular semi-3D art made by wrapping paper fibers into a diamond mesh. Cavities appear if the regular shape of a metal mesh is made irregular, and then by entwining paper fibers with the metal mesh the cavities gradually take on the appearance of honeycomb holes (Hollow cylinders rather than regular hexagons). Increasing the amount of fiber enables the forming of more random and complex textures, and furthermore, by effectively applying paints based on plaster and earth pigments she creates a unique visual effect that combines hardness and softness. Hanzawa is also taking on the challenge of creating dense three-dimensional artworks (cube objects) by overlapping multiple layers of her unique semi-3D objects.
 Regardless of the form of the artwork that Hanzawa sets out to create, the most important aspect is the unique paper in each artwork. Hanzawa calls this “personality,” and the work itself she calls “the self.” Typically, the self consists of relationships between a variety of elements (such as where one was born and raised, family and friends, etc.), and Hanzawa's art also consists of the connections of stacked up fibers, as well as between the fibers themselves, and their relationship with the materials (metals, etc.) that at times physically support them. In addition, her art has an affect and acts on the environment surrounding it. Hanzawa is craving to build a relationship with the audience through her own art, and has high expectations of a reaction from the audience.

Curator, Pola Museum of Art
UCHIRO Hiroyuki

provided by MARUEIDO JAPAN

 

​©︎ 2018 Tomomi Hanzawa

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​半澤友美

tomomi hanzawa