例えば大木を前にした時。例えば小石を手にした時。例えばある場所に足を踏み入れた時。一切の雑多なものが消えて、ただそれと向き合う瞬間があります。

私が作りたいのはその様な時間と場で、私の現在の制作とはそれらの咀嚼と純化です。

制作のプロセスが分断されることで、その都度思考とイメージの整頓がされていくこと。和紙という素材と水性木版という技法が作り出す柔らかな物質感と緊張感、深い空間性。

水性木版画という表現手法は私の作品のイメージをより深め、発展させてくれます。

そして、一旦版を介する事で作品に残る作者の存在が希薄になること。そこに生じる静けさと距離感も、場を組み立てていく上で重要な要素となっています。

 

 

 

When I stand in front of a big tree, when I hold a stone in my hand, or when I step into a place, I enter a moment when I encounter and greet everything deeply and silently. This is a valuable moment for me. So, I want to create prints that remember that kind of time and that kind of space, and my work serves as my attempt to taste thoroughly and to digest fully what this all means. The water-based woodcut print involves a process that allows me the time to re-think and re-imagine what I see and feel. Then when I transfer the images onto hand-made Japanese paper (washi) using water-based colors, I witness how soft, tense, and deep images spread over an empty space. Moreover, each time I add another color to the print, my identity as the one who initially drew the image becomes less important and in that gap, I sense a silence that distances me from my work. As I participate in the mokuhanga process, I have discovered over and over the importance of understanding how each step in the process changes and alters my initial conceptions. 

© 2020   Chihiro Taki