WORKS

WORKS

2022/01-12

[painting works] <SILVER>シリーズ

[painting works] <SILVER>シリーズ

SILVER 2022 S40-01
2022
100×100×5cm
acrylic on canvas

SILVER 2022 S40-02<br />
2022<br />
100×100×5cm<br />
acrylic on canvas

SILVER 2022 S40-02
2022
100×100×5cm
acrylic on canvas

SILVER 2022 S40-03<br />
2022<br />
100×100×5cm<br />
acrylic on canvas

SILVER 2022 S40-03
2022
100×100×5cm
acrylic on canvas

SILVER 2022 S40-04<br />
2022<br />
100×100×5cm<br />
acrylic on canvas

SILVER 2022 S40-04
2022
100×100×5cm
acrylic on canvas

SILVER 2022 S40-05<br />
2022<br />
100×100×5cm<br />
acrylic on canvas

SILVER 2022 S40-05
2022
100×100×5cm
acrylic on canvas

SILVER 2022 S20-01<br />
2022<br />
73×73×5cm<br />
acrylic on canvas

SILVER 2022 S20-01
2022
73×73×5cm
acrylic on canvas

SILVER 2022 S20-05<br />
2022<br />
73×73×5cm<br />
acrylic on canvas

SILVER 2022 S20-05
2022
73×73×5cm
acrylic on canvas

SILVER 2022 60s-03<br />
2022<br />
60×60×10cm<br />
acrylic on canvas

SILVER 2022 60s-03
2022
60×60×10cm
acrylic on canvas

SILVER 2022 F30-01<br />
2022<br />
73×91×4cm<br />
acrylic on canvas

SILVER 2022 F30-01
2022
73×91×4cm
acrylic on canvas

SILVER 2022 S12-06<br />
2022<br />
61×61×4cm<br />
acrylic on canvas

SILVER 2022 S12-06
2022
61×61×4cm
acrylic on canvas

「SILVER」シリーズのペインティングに寄せて
今から6年ほど前の「WM」(有無/ウム)シリーズという相反する2つの要素を同空間で見せる作品で、初めてトロトロに溶いた絵具を水平方向に置いたキャンバスに流し込み始めた。その後に「動き・奥行き・光」に着目し、近年はそこに物質が重力により流れる時間を加える作品へと展開する。
その文脈を踏襲している「SILVER」シリーズで多用している金属色は、物理的に光を受け反射する表面(図)としての色と、色と言いながらも色相環に入ることの出来ない非色彩・虚空として背景(地)の両方を併せ持つ。
また他の色材より粒子が大きく重力方向への動きが明確になる。
絵画の基本要素を分解し再構築、抽出することで「観る」ことの根源的な意味を提示出来ればと考えている。 
文:中島麦 2022年8月

―――
"SILVER" series of paintings
At that time, I started pouring melted paint on a horizontal canvas for the first time in the "WM" (presence/absence) series, in which two contradictory elements are shown in the same space.
In recent years, I have developed into a series "Multi LD" in which time is added to the material flowing under the influence of gravity.
The metallic colors used in the "SILVER" series, which follows this context, have both a color as a surface (figure) that physically receives and reflects light, and a background (ground) as a noncolor or void that cannot be entered into the hue circle, even though it is called a color.
and a background (ground) as a non-colourful void that cannot be entered into the hue circle, even though it is called a colour.
Also, its particles are larger than those of other colour materials, and its movement in the direction of gravity is clearer.
By deconstructing, reconstructing and extracting the basic elements of painting, I hope to present the fundamental meaning of 'seeing’. 
Text by nakajima mugi,

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