てのひらを掠めるもの
金沢市安江金箔工芸館 (石川)
Pass through the palm of my hand [solo]
Kanazawa Yasue Gold Leaf Museum, Ishikawa
Nov. 4–27, 2022
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漆の下地は、乾いた土のような層の重なりで出来ている。
水をかけながらこれを研ぐとき、漆と土が混ざり合った汁が指の隙間をくぐり抜ける。
かぶれは手のひらに僅かばかりの痛みを残し、去ってゆく。
漆の艶めく光沢は、傷を与えて再び埋める行為の賜物だ。
手のひらで研磨することで、傷は光を反射するまでに小さくなる。
母指球の皮膚がはじけるころ、わたしたちの間に何かつながりが出来たと信じている。
The base layer of lacquer consists of overlapping layers like dry earth.
When I polish it with water, a mixture of lacquer and soil slips through the gaps between my fingers.
The irritation leaves a faint pain in my palm before fading away.
The lacquer’s lustrous shine is the result of a process of wounding and filling again.
By polishing with the palm of my hand, the scratches become so fine they reflect light.
By the time the skin of my thumb ball begins to crack, I believe a connection has formed between us.
まだ暖かい牛糞を枕に眠る
木板に寒冷紗、漆、金属粉、岩石粉
1225×950 ㎜ 2022 “Sleeping on a Warm Cow Dung Pillow” panel on cotton cloth, Japanese lacquer(Urushi), metal powder, powder made from dried clay
腐葉土と光
木板に寒冷紗、漆、金属粉、岩石粉
510×453 ㎜ 2022 ”Decaying Leaves and Light” panel on cotton cloth, Japanese lacquer(Urushi), metal powder, powder made from dried clay
二頭のシカ
木板に寒冷紗、漆、岩石粉
290×375 ㎜ 2022 “Two Deer” panel on cotton cloth, Japanese lacquer(Urushi), powder made from dried clay
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