Suzuki Hiraku “GENZO”

Suzuki Hiraku GENZO 2015
Installation view at MISA SHIN GALLERY
Photo: Keizo Kioku

Suzuki Hiraku GENZO 2015
Installation view at MISA SHIN GALLERY
Photo: Keizo Kioku

Suzuki Hiraku 鈴木 ヒラク
GENZO
Date: Friday, September 25 – Saturday, November 7, 2015

PRESS RELEASE

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<日本語は英語の後に続きます>

Suzuki Hiraku considers “drawing” as something between pictures and language, and his art explores the new potential that this definition implies.

His practice encompasses a large variety of media, including two-dimensional works, installations, murals, video, sculpture, and performance. For Suzuki, drawing is not constrained by concepts such as art history definitions of a term used from the Renaissance period onwards to distinguish sketches, or by the idea that drawing is a means of expressing an artist’s inner facets or emotions. Instead, he sees it as the theory and practice of deconstructing the traces of symbols that are distributed in our everyday world and rearranging them through a physical implementation to generate new circuitry in space and time.

The artist describes his method as “alternative archaeology.” Traversing boundaries between the artificial and the natural, the past and the future, or the internal and the external, Suzuki continues to expand the field of drawing.

GENZO (2014-) is a new series that began with the artist taking black paper and silver spray into a completely dark tunnel, and making an instantaneous drawing in circumstances where he was unable to see anything at all. This approach brings to mind the negative hand paintings made in the darkness of a cave, and also resembles the process of developing photographic negatives in a darkroom. The title comes from the Japanese term for photographic development (genzo), but could also mean ‘phantom,’ or ‘original statue’ terms which in Japanese have the same pronunciation but would be written with different characters.

Double Eclipse (2015) uses stainless steel as its material. An eclipse occurs when, for instance, the sun, the moon, and the earth are in alignment. This installation is a motif based on a hypothetical moment when two such eclipses align, and that alignment is visible from another celestial body on the same axis an event that archaeoastronomy and space science see as being no more than a remote possibility. The artist has focused on the intrinsic significance of letters and symbols, capturing in two dimensions the tremendous gulf of time and physical distance implicit in this moment. The stainless steel is laser-cut from drawings made by hand, and produces optical phenomena between the material (mineral) and the non-material (image) as the viewpoint changes.

casting (2010-) is a series that involves making stencils by cutting around the outlines of artifacts in photographs taken from the pages of museum catalogues acquired from around the world. The artist then uses the stencils with silver spray on the printed page, deleting the memory of each object to leave just an outline and a shadow where once an artifact had been. As a result, the artifact reappears with the look of an unknown object having a silver sheen and seeming to be three-dimensional. The process of bringing into existence a new image by manipulating the traces of something to reverse its shape taking it from positive to negative and back again?underlies both the process of casting using metal and the processing of developing photographs.

MISA SHIN GALLERY’s first solo show for this artist presents works from his GENZO and casting series, and in addition, exhibits Double Eclipse, a new work in stainless steel created specifically for this exhibition. This juxtaposition of different approaches is a fascinating introduction to SUZUKI Hiraku’s ongoing expansion of the field of drawing.

Suzuki Hiraku
Focusing on the act of drawing, Suzuki Hiraku’s practice encompasses a large variety of media, including two-dimensional works, installations, murals, video, performance, and sculpture. He is constantly expanding the field of drawing as a method for generating and transforming space and time. Major exhibitions include “Signs of Faraway” Aomori Contemporary Art Center (Aomori, 2015), “Son et Lumière, et sagesse profonde” 21st Century Museum of Art, Kanazawa (Kanazawa, 2012), “Roppogi Crossing 2010: Can There Be Art?” Mori Art Museum (Tokyo, 2010).

鈴木ヒラクは、「ドローイング」を絵と言葉の間に存在する行為と定義付け、描くことの新しい可能性を探求しているアーティストです。

鈴木の制作は、平面、インスタレーション、壁画、映像、彫刻、パフォーマンスなど多岐に渡ります。鈴木にとってドローイングとは、ルネサンス期以降の美術史で定義される下書きや古典主義的な内面の表出としてのそれではなく、すでに日常に遍在している記号の痕跡を、点と線に解体し、再配置することによって、時空間に新たな回路を生成するための思考や表現を意味します。オルタナティヴな考古学と称するその手法は、人工と自然、過去と未来、内と外といった様々な境界を行き来しながら、ドローイングの領域を拡張し続けています。

GENZO(2014-)は、真っ暗なトンネル内部に黒い紙とシルバースプレーを持ち込み、何も見えない状況の中で瞬発的に描いたことから始まった新しいシリーズです。この手法は、洞窟の暗闇の中で描かれたネガティブハンドを想起させ、暗室でネガフィルムを現像する写真の行程とも近似するところがあります。タイトルGENZOには、現像の他、幻像や原像という意味も含まれています。

Double Eclipse(2015)は、ステンレス鋼を素材として、太陽・月・地球ともうひとつ別の星が一直線に整列した時、その延長線上の視点からそれらを見るという、天文考古学的/宇宙科学的に“存在するかもしれない”瞬間をモチーフに制作されました。途方もない時間や距離の隔たりを二次元に定着させるという、文字や記号が持つ本質的な意味を主題としています。手書きのドローイングをもとにレーザーで切り出されたステンレス鋼が、鑑賞者の視点の移動に伴って、物質(鉱物)と非物質(イメージ)の間に光学的現象を起こします。

世界各地で入手した博物館のカタログページ上の様々な遺物の写真の輪郭をなぞり、切り抜いてステンシルを作成し、そこにシルバーのスプレーを施すcasting(2010−)シリーズは、かつてあったものが輪郭と影だけを残してもとの記憶を消され、未知の物体のような輝きと立体感を伴って再び現れる作品です。ものの痕跡の型を取ってネガをポジに反転することで、新たなイメージを出現させる行程は、金属による鋳造や、写真を現像するプロセスとも通底しています。

MISA SHIN GALLERYで初めとなる今回の個展ではGENZO、castingシリーズの作品に加え、本展のために制作したステンレスを素材にした新作、Double Eclipseを展示いたします。

鈴木 ヒラク
1978年、宮城県生まれ。神奈川県在住。“描く”という行為を主題に、平面、インスタレーション、壁画、映像、パフォーマンス、彫刻など多岐にわたる制作を展開。時間や空間の生成と変容の方法として、ドローイングの領域を拡張し続けている。主な展覧会に「かなたの記号」国際芸術センター青森(青森、2015)、「ソンエリュミエール、そして叡智」金沢21世紀美術館(石川、2012)、「六本木クロッシング2010展:芸術は可能か?」森美術館(東京、2010)他。

2018-09-12|
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