増井 岳人
Taketo Masui
「piece/peace」
2024.04.26−05.26 13:00−19:00 closed on Monday, Tuesday
HECTAREでは、彫刻家・増井岳人による個展｢piece/peace｣を開催します。
増井岳人は素材自体が持つ原始的なエネルギーに魅せられ、数々の彫刻作品を生み出してきました。その中でも増井氏の代名詞であり原点でもある「土」を駆使した作品は、愛くるしいたたずまいでどこか親しみやすさを感じさせます。
本展では増井氏が日本各地で縄文土器の破片を拾い集め、その破片を組み合わせる事で生まれた立体作品「土偶坊」が展示されます。「土偶坊」は現代に再び形を変え出土した土偶のようにも見えます。さらに、土器片同士を接合する際にできる繋ぎ目は、まるで本当に縄文人がいたことを証明する痕跡のようです。
また、土器の文様を用いてできた平面作品は、土器をキャンバスの裏に当て表面を鉛筆で擦る手法、フロッタージュにより制作されています。描かれているモチーフは現代においての平和のシンボル(ピースマークやハトなど)であり、仰々しくないユーモラスなイメージが増井氏の思い描く平和のあり方なのかもしれません。その他に、過去に制作し未発表だった人差し指の折れたピースサインの彫刻「サウイフモノニワタシハナリタイ」も同時に展示されます。観る方向で意味合いが変化し、主体と客体の曖昧さを体験する事ができます。
争いがなかったと言われる縄文時代。約１万年前の縄文人が土と火を使いこなし形成した土器のカケラたちが、「平和」そして「豊かさ」とは何かと語りかけてくるようです。
HECTARE is pleased to present “piece/peace,” a solo exhibition by sculptor Taketo Masui.
Taketo Masui, fascinated by the primitive energy inherent in the materials themselves, has created numerous works of sculpture. Among these works, those that use “soil,” which is synonymous with Masui and his origin, evoke an endearing impression and a sense of familiarity. In this exhibition, Masui has collected fragments of Jomon ceramics from all over Japan and combined them to create three-dimensional works called “Dekuno-bo.” The “Dekuno-bo” look like clay figurines that have been reshaped and unearthed in the present-day. Furthermore, the seams formed when the ceramic pieces were joined together actually seem to prove the existence of the Jomon people.
Also, the two-dimensional works made using ceramic patterns were created by frottage, a technique in which the ceramic is placed on the back of the canvas and the surface is rubbed with a pencil. The motifs depicted are contemporary symbols of peace (peace symbols, doves, etc.), and the humorous, not ostentatious imagery that perhaps represents Masui’s vision of peace. Another work on exhibit at the same time is “Sauifumononiwatashiwanaritai,” a sculpture of a peace sign with a broken index finger, which was previously created but has yet to be displayed. The meaning shifts depending on the angle of observation, allowing the viewer to experience the ambiguity between the subject and the object. The Jomon period is said to have been a period free from conflict. The fragments of ceramic formed by the Jomon people, who mastered the use of clay and fire about 10,000 years ago, seem to speak to us about the meaning of “peace” and “abundance.”
【増井岳人 個展｢piece/peace｣によせて】
豊かさとは何なのか、その問いを外へ放ってみる。しかし返答がないどころか、沈黙の虜になっている。今度はそれをまるで古い井戸の中に小石を落とすかのように内側に問うてみる。深淵からわずかばかり響いてくるものがある。その井戸に繊維のように細い糸を垂らし、ゆっくりとゆっくりと降りていく。やがて地底までたどり着くと上空を見上げる。針の穴ほどの光の粒が星のように一つ浮かんでいる。あたりは真っ暗闇で、目を開けていても閉じていてもさして変わらない。ゆえに目を瞑ることにする。するとどこからかざあっと風が吹いて、まるで太古から後世へと自由に往来するような感覚に包まれる……。さらに時間軸が歪み、ねじれることで亀裂が生じる。この裂け目を縫合するようにピースとピース、破片と破片を紡いでいくと一つの像が形成される。それが増井岳人作「土偶坊（でくのぼう）」である。土偶坊は縄文土器の破片を実際に増井氏本人が拾い集め、その破片をパズルのように組み合わせて出来たものだ。
そもそも本来、「でくのぼう」は「木偶坊」と表記する。しかし増井氏は、詩人・宮沢賢治が遺品の手帳の中であえて《木》を《土》と記したことに感化され、そのまま引用している。我々は元来、農耕民族であり誰もが滞在的に「土」の感触をいまだに握りしめているのではないだろうか。幼いながらに土いじりをしていたのもその名残りだろう。増井少年もその一人に違いない。あらゆるものが時空を超えて繋がっていて、その少年の記憶は太古へと繋がっている。
諸説はあるが、縄文時代は一万年続いた争いのない時代だったという。そういう意味で縄文時代は平和と豊かさの象徴なのかもしれない。しかし、増井氏は決して平和とはこうだ、豊かさとはこうであると断定したりはしない。ただただ、縄文人の暮らしに寄り添い、想いを馳せる。その時間こそが最も豊かなことであるということに、我々は気付かされるのである。
HECTARE 内田俊太郎
[A comment on Taketo Masui’s solo exhibition “piece/peace”]
What is abundance? I cast that question to the outside world. But instead of just not receiving an answer, I am captivated by silence. This time, I ask inwardly, as if I were dropping a pebble into an old well. A slight echo comes from the depths. A thin thread, like a fiber, I slowly, slowly descend into that well. When I eventually reach the bottom, I look up to the sky above. A speck of light the size of a needle hole floats like a star. The surroundings are pitch black, and it doesn't make much difference whether I open my eyes or close them. Therefore, I decide to shut my eyes. Then, a gust of wind blows from somewhere, enveloping me in a sensation as if I am freely passing from ancient times to posterity..... Furthermore, the timeline is distorted and twisted, causing cracks to appear. Stitching together piece by piece, fragment by fragment, in this way, a single image is formed. That is Taketo Masui’s creation, “Dekuno-bo.” Dekuno-bo was created by Masui himself, who picked up fragments of Jomon ceramics and combined them together like a puzzle.
Originally, “Dekuno-bo” was written as “Mokugu-bo.” However, Masui was inspired by the poet Kenji Miyazawa, who intentionally replaced “soil” for “wood” in his notebook, which he left behind. Matsui was so inspired by this he quoted it verbatim. We are originally agricultural people, and I believe that everyone still holds on to the sensation of “soil” in a nomadic way. Perhaps the fact that even as children, we played in the soil is a remnant of this. Young Masui must be one of them. Everything is connected beyond time and space, and the memories of that boy are linked to ancient times.
Although there are many theories, the Jomon period lasted 10,000 years without conflict. In this sense, the Jomon period may be a symbol of peace and abundance. However, Masui never asserts that peace is this or that abundance is that. He simply pauses and reminisces about the life of the Jomon people and makes us realize that this period was the most abundant of all.
HECTARE Shuntaro Uchida
Biography
1979年神奈川県生まれ、彫刻家。2001年に東京藝術大学美術学部彫刻科を卒業、2003年に東京藝術大学大学院美術研究科修士課程修了。主に土を使い陶器作品を発表をしている。近年の個展に増井岳人彫刻展/ギャラリーせいほう(2020)、Taketo Masui Solo Exhibition「good night」/スパイラル(2021)、Taketo Masui Solo Exhibition「NOW」/GALLERY 隙間(2022)
Sculptor, born 1979 in Kanagawa, Japan. Masui graduated from the Department of Sculpture, Tokyo University of the Arts in 2001, and received his MFA from the Tokyo University of the Arts in 2003. He has been working ceramics mainly using clay. Recent solo exhibitions include TAKETO MASUI SCULPTURE EXHIBITION at Gallery SEIHO (2020), Taketo Masui Solo Exhibition “good night” at SPIRAL (2021), and Taketo Masui Solo Exhibition “NOW” at GALLERY Sukima (2022).