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。
 Ka-ue Ｗ640×Ｈ490×Ｄ55mm 2013 oil on canvas、wood, |  Gyobon Ｗ665×Ｈ385×Ｄ55mm 2012 oil on canvas |  Shsa W620×H380×Ｄ55mm 2012 oil on canvas |
|---|---|---|
 yu-ko oil on canvas w632×h345×ｄ55mm 2014 |  Shya Ｗ625×Ｈ375×Ｄ55mm 2013 oil on canvas |  Ｅt-Ｓe 2012 oil on canvas |
 Tato 2012 oil on canvas |  jooda oil on canvas 2012 |  Naku 650×570mm 2013 oil on canvas |
 Z (2016) Ｗ690×Ｈ340×Ｄ38mm oil on canvas |  sasa oil on canvas Ｈ480×Ｗ610 2013 |  naooh oil on canvas 2012 |
 meun oil on canvas H470×Ｗ640 2013 |  co-co 2013 W900×Ｈ750×Ｄ35mm oil on polyester |  Na-oh oil on <a skirt>(モデル本人の古着） 2014 W765×Ｈ420×Ｄ50mm |
 yuta oil on <T-skirts>(モデル本人の古着） 2014 W630×Ｈ400×Ｄ50mm |  Mesa oil on <a skirt> (モデル本人の古着） 2014 W670×Ｈ900×Ｄ50mm |  ReKa oil on canvas 2014 ＆ movie 3min. |
 Mi-Sa 2013 oil on Camisole (モデル本人の古着に油彩） W700×Ｈ530×Ｄ30mm |  yu-ta oil on panel H270×W380mm 2012 |  ポコラート展 at 3331 |
 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＞ミスギレンジ個展2014 池袋西武6Ｆ |  |
 |  |  ＜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 |  |  ほしのあきの描き方制作風景 |
 students(集団肖像画） oil on canvas 2011(not for sale) |  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.