造形作家・櫻井正一とコリーンの手漉き和紙の世界。廃材や古民具などの捨てられたモノを、独自の観点で再生の美に挑む。

"LIFE VIVIDLY LIVED PART 2" Exhibition
”ライフ・ヴィヴィドリー・リーヴド・パート2” エキジビション


I created four pieces during the short residency on Inish Turk Beg Island. Using abandoned and discarded materials found on and around the island I reclaimed them to create viable works of art.

私が創った4作品はこちら。
短い滞在期間の中で、イニシュタークべグ島のまわりで手に入れた廃物たちに新たな命を吹きこみ創り上げました。

"Low Tide / High Tide"  「 潮汐 」
"Low Tide / High Tide" 「 潮汐 」

Tide is the one thing that most effects the Islander's everyday life so I wanted to inscribe it into my work. I put a bed sheet on the old stone masonry pier then, with sumi ink mixed with sea water, did a rubbing. I left it exposed for seven days. Twice a day, low tide and high tide's water level rose and fell and left their watermarks. Nature's strength assisted the process.
H: 210cm W: 135cm

島に暮らす人々の生活に最も影響を齎す潮汐。それを作品の中に刻み込みたいという意匠から、石積みの桟橋の肌に白いベッドシーツを打ち付け、海水で磨った墨で岩肌を映し7日間その場に晒すことによって、上がり下がりする海面水位が残す跡に風や太陽光が手伝う自然の力を借りた作品です。




Dichotomy
"Dichotomy" 「 二分法 」- Wall sculpture

An abandoned tractor wheel was found in the rubble of an old stone shed on Inish Turk Beg property. Rust was pushing through layers of paint and, after years of abandonment, the expression it wore was beautiful to my eyes and spoke to me in a profound way. On 45% of the right hand side I deeply polished it to a bright, shining, metal. The other 55% I left the beauty of the original texture. Outside/Inside, false/truth, development/essence is the metaphor for "Dichotomy."
H: 85cm W: 85cm D: 11cm

石積みの小屋の脇で朽ち果てそうになっていたトラクターのホイール。 幾層ものペイントをも押し退け、深く被った赤い錆。長い時を見放され ていたモノの持つ表情は私に何かを語りかけてきました。右側 45%は輝きを持つ地金が出るまで磨きをかけ、左側55%はそのま まの美しい質感を残しました。外と内、虚偽と真実、現像と本質 を ”二分法” と見立てました。壁を飾る彫刻。




Riding on the current I

Riding on the current U
"Riding on the current I" 「 流れ 」and "Riding on the current II"「 趨勢 」- Objet

What initially looked like bombs turned out to be old abandoned buoys once used for reading the ocean's current; pitiful rusted figures flowing through the current of time. For "Riding on the Current 1" I sawed out my expression of the calligraphy for "Nagare," which is the Japanese kanji character for "current." With "Riding on the Current II" I chose the kanji "Suusei" which means "tendency or trend of the times." The calligraphy was applied by mixing acrylic with rust dust.
H: 65cm W: 98cm D: 55cm

最初に見た時はその風貌から爆弾かと。調べてみると海流を示す浮標。その痛々しく錆びた姿も使われなくなってしまったモノの時の流れ。「 "1" 流れに乗って 」には、流という書を切り取り、「 "2" 趨勢に乗って」では、時代の趨勢に従い、アクリル絵の具と錆び粉を混ぜた書を施しました。



2010 Residency: Shoichi Sakurai

  This is the 2nd year I was lucky enough to participate in Inish Turk Beg's Artists' Residency. Never before in my work have I felt the kind of freedom Inish Turk Beg offered me. in Japan there are too many distractions ‐‐ on the Island I am able to focus 100%. Inspiration and passion flow through me like a current. The spirit of the island is ever present, the energy is ever flowing. Though I was under a time restraint and had little occasion to sleep I never felt tired.
  I did my fabrication in the boat house so I was able to work, day and night, without interruption. When the shutter was up I was afforded a full view of the sky, the pier and the ocean that surrounded it. I could feel and hear the wind and water. It was as if I had my own open air studio. I not only could watch the low tide and high tide come and go twice a day, but I could feel it, experience it as if I was actually a part of it.
  I fabricated four pieces during the short residency. I am very proud of what I was able to accomplish on the island.



東日本大震災においては、胸が張り裂ける思いでニュースを聞いております。亡くなられた沢山の方々のご冥福をお祈りし、被災された方々、避難を余儀なくされている方々へ、心からお見舞い申し上げます。そして一人でも多くの方の無事と、早い復興を祈っております。
この震災は、ダブリンへ向けて出発直前での出来事でした。私自身現地に行くことが出来ず、作家不在での展覧会になってしまいとっても残念ですが、私の作品の売り上げからも日本赤十字社を通じて被災地に寄付させて頂く所存でございます。
また今後も、無事だった私たちが出来る最大限の支援を震災に見舞われた方々に行いたいと思います。

My heart and prayers go out to all of those in my home country of Japan who have suffered such great devastation and loss in the aftermath of the earthquake and tsunami.
The tragedy occurred just days before I planned to leave for the opening of the exhibition in Ireland. I was saddened that I was unable to attend but a part of me was represented through my work.
I would like to aid the disaster relief efforts by donating a portion of my sales from the exhibition to the Red Cross Japan.






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