artistic educator's perspective
★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。
「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。
★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.