After I started releasing the "Metal Painting" series, the end of the corona pandemic began to come into sight, and a return from the digital space to the real space began. As a result, I began to reexamine jewelry worn on the human body again. During this period, the fact that I was born into a 300-year-old rice farming family, the historical battle between infectious diseases and humanity, and the connection with the production process that goes back and forth between the digital and physical were the starting points for the "Layer" series and "Re:" series.
In these works, traces of past and present handiwork coexist on the same plane by reusing the latest work as material for the next work. On the surface of the work, patterns are engraved using the traditional craft of metal engraving, and the rural landscape of my hometown is imagined as a symbol of the cycle and inheritance of life. In this way, my works intersect the past and present, the digital and the physical world, and each work is connected.
In today's unstable world situation, it is not uncommon for relationships with family and friends to suddenly be severed. My works strongly desire the importance of connections between people and give form to this. Just as the individual works are connected to each other, it is our hope that the bonds between people will also continue unbroken.
In these works, traces of past and present handiwork coexist on the same plane by reusing the latest work as material for the next work. On the surface of the work, patterns are engraved using the traditional craft of metal engraving, and the rural landscape of my hometown is imagined as a symbol of the cycle and inheritance of life. In this way, my works intersect the past and present, the digital and the physical world, and each work is connected.
In today's unstable world situation, it is not uncommon for relationships with family and friends to suddenly be severed. My works strongly desire the importance of connections between people and give form to this. Just as the individual works are connected to each other, it is our hope that the bonds between people will also continue unbroken.
Production rules:
- I make a new chisel for each layer and use it.
- If I make a mistake in engraving, I start over from the beginning.
- I engrave the number of each layer onto the back of the piece.
「Metal Painting」シリーズを発表し始めた後、コロナパンデミックの終息が見え始め、デジタル空間から現実空間への再帰が始まりました。それに伴い、私は再び人体に着用するジュエリーを見つめ直すようになりました。この時期、自身が300年続く米農家の家系に生まれたこと、感染症と人類の歴史的な戦い、そしてデジタルとフィジカルを行き来する制作プロセスとの結びつきが、「Layer」シリーズと「Re:」シリーズの発端となりました。
これらの作品群では、最新の作品を次の作品の素材として再利用することで、過去と現在の手仕事の痕跡を同一の平面上に共存させています。作品の表層には、伝統工芸である彫金技法を用いて模様を刻み、生活の循環や継承を象徴するものとして、故郷の田園風景をイメージしました。このように、私の作品は過去と現在、デジタルと物質世界を交差させ、各作品に繋がりを持たせています。
現代の不安定な世界情勢において、家族や友人との関係が突然切れることも珍しくありません。私の作品は、人間同士の繋がりの大切さを強く願い、それを形にしています。個々の作品同士が繋がるように、人と人との絆もまた、断たれずに続いてほしいという願いが込められています。
制作ルール:
- レイヤーごとに新しい鏨を制作し使用する。
- 彫り工程をミスした場合は、最初からやり直す。
- 作品の裏に各レイヤーの番号を彫る。
- レイヤーごとに新しい鏨を制作し使用する。
- 彫り工程をミスした場合は、最初からやり直す。
- 作品の裏に各レイヤーの番号を彫る。
LAYER Series start from 2022(Currently up to layer no.6)
layer no.0(origin) /Aluminum /H120 x W120 x D3 mm /2022
layer no.1 two-dimensional work /Aluminum composite panel, UV direct print /H480 x W480 x D3 mm /2023
layer no.1 pendant /Aluminum composite panel, UV direct print, silver, paint, string /H120 x W120 x D8 mm /2022
layer no.1 brooch /Aluminum composite panel, UV direct print, silver, paint, stainless /H90 x W90 x D10 mm /2022
layer no.1 ring /Aluminum composite panel, UV direct print, silver, paint /H60 x W60 x D25 mm /2022
layer no.1 earrings /Aluminum composite panel, UV direct print, silver, paint /H30x W30 x D14 mm /2022
no.0(origin)
no.1
no.2
no.3
no.4
no.5
