★concept

★左側は指導なし、右側はマンツーマンレッスンで描かれた生徒の
自画像。


自分のようないわゆる「絵の先生」が絵画と対峙する時間のほとんどは、間に生徒を挟んでの「二人羽織的な状況」にある。


絵を上手に描きたいと生徒は絵を学んでいるワケだが、このときの教える側の視点をあえて説明的に書くと、「生徒の手(個性)を用いて、言葉によって、絵を完成させる」ということになる。

これは映画監督が役者に演技指導し、役者の個性を引き立てつつも全体を完成させる、、という関係に非常によく似ている。

上記の視点、そして先生と生徒との「教える教わる」というコミュ二ケーションによってインプロビゼーション的に生成されていくこのシリーズは(生徒の)「未熟な筆さばき」と、(先生の)「熟練された目」とのアンビバレントな相互作用によって生成される。

 

 

 

ka-ue

Ka-ue W640×H490×D55mm 2013 oil on canvas、wood,

Gyobon

Gyobon W665×H385×D55mm 2012 oil on canvas

Shsa

Shsa W620×H380×D55mm 2012 oil on canvas

yu-ko

yu-ko oil on canvas w632×h345×d55mm 2014

shya

Shya W625×H375×D55mm 2013 oil on canvas

Et-se

Et-Se 2012 oil on canvas

tato

Tato 2012 oil on canvas

Jooda

jooda oil on canvas 2012

Naku

Naku 650×570mm 2013 oil on canvas

Z

Z (2016) W690×H340×D38mm oil on canvas

sasa

sasa oil on canvas H480×W610 2013

naooh

naooh oil on canvas 2012

meun

meun oil on canvas H470×W640 2013

co-co

co-co 2013 W900×H750×D35mm oil on polyester

Naoh

Na-oh oil on <a skirt>(モデル本人の古着) 2014 W765×H420×D50mm

yuta

yuta oil on <T-skirts>(モデル本人の古着) 2014 W630×H400×D50mm

Mesa

Mesa oil on <a skirt> (モデル本人の古着) 2014 W670×H900×D50mm

ReKa

ReKa oil on canvas 2014 & movie 3min.

Mi-Sa

Mi-Sa 2013 oil on Camisole (モデル本人の古着に油彩) W700×H530×D30mm

yu-ta

yu-ta oil on panel H270×W380mm 2012

pocolart

ポコラート展 at 3331

ほしのあきの描き方

ほしのあきの描き方 oil on poliyester H455×W388×6枚 2011(not for sale)

<未熟な熟練>展

<未熟な熟練>ミスギレンジ個展2014 池袋西武6F

pocolart展
pocolart展
制作風景
<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

2016 Betweens

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

<education>展 at アートラボトーキョー 2016

pocoart
ほしのあきの描き方制作時

ほしのあきの描き方制作風景

students(集団肖像画)

students(集団肖像画) oil on canvas 2011(not for sale)

タグボート展

タグボートインディペンデント展2011

★Concept

Student’s self-portrait by student without coaching(left) and with one-on-one coaching (right)

(Bothpaintings are painted by the hands of the students)

Being a so called “Painting Teacher”, for most of my time facing Paintings, I have a student between me and painting, which resembles to a situation presented by Japanese traditional party stunt called “Nininbaori” where two persons play oneperson eating and drinking – one of the players plays the role of head and bodyincluding mouth and eyes(but no hands), and the other player plays the role ofhands(but no eyes and mouth).

When learning paintings, most of the students’ orientation towards paintings is for “better painting.” On the other hands, thestand point of the teacher will be, if I dare to explain it explicitly,“complete the painting through the hands of student and (with his/heridentity), through my words of coaching.”

It is verymuch similar to the relationship between film director and actor/actress, wherefilm director will coach acting and complete the film as a whole by extracting the best part of the actors colors and characters.

These works of “Betweens (you and you) series” are sometimes improvisatorially generated on the above mentioned standpoint, through the ambivalent interactions between (student’s) “unskillful brush stroke” and (teacher’s )“matured eye” through the “teaching and learning” communication between teacher and students.