中

 

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隙間は、山﨑萌子による「中」を開催します。
山﨑萌子は、与那国島と東京を拠点に活動する写真家。沖縄の伝統的な琉球紙の技術を⽤いた平⾯・⽴体作品・インスタレーションの制作を通して、写真と紙の関係性を追求しています。
本展「中」では、奄美⼤島での滞在中に制作された一連の作品を展⽰します。山﨑の滞在中には、国の重要無形⺠俗⽂化財に指定されているショチョガマや平瀬マンカイなど、4年ぶりとなる伝統⾏事が多数開催されていました。山﨑はこれらの祭事に触れ、旺盛な⽣命⼒に満ちた奄美⼤島の⾃然の恩恵と、地元の⼈々から学んだ文化や伝統、そして染⾊技法を作品へ取り入れていきます。風景としてのモチーフ、泥染め、手漉きの紙をはじめ、山﨑のこれまでの作品と同期しながらも新たな試みとなる新作を発表します。
山﨑による写真と紙の瑞々しい出会いがもたらす展覧会を、ぜひこの機会にご覧ください。

隙間 presents the exhibition 「中」 by Moeco Yamazaki.
Based between Yonaguni Island and Tokyo, Yamazaki examines the relationship between photography and paper through the creation of two-dimensional and three-dimensional works and installations that explore traditional Ryukyu paper-making techniques from Okinawa.
This exhibition, 「中」, showcases a series of work created during Yamazaki’s stay on Amami Oshima, an archipelago located off South-west Japan. During Yamazaki's stay, various traditional events, including Shochogama and Hirase Mankai, designated as important intangible cultural assets of the country, were held after a four-year hiatus. Experiencing these festivals, Yamazaki incorporates the rich, diverse natural environment of Amami Oshima, the culture and traditions learned from local people, and dyeing techniques into her works.
Whilst continuing motifs such as landscapes, and unique handmade paper from previous series, Yamazaki’s new works represent an experiment using deeply rooted local knowledge.
Please take this opportunity to experience the fresh encounter between Yamazaki’s photography and paper.

 

Artist statement

奄美⼤島における泥染は⻑年にわたり漆⿊であることを求められてきた。その過程には無限の⾊彩が存在する。
泥染に使う⾞輪梅のタンニン酸と、泥⽥に含まれる鉄分が反応し、有彩⾊が徐々に無彩⾊へと近づく。このプロセスを何度も重ねると最終的に漆⿊に⾄る。太陽が地平線に沈み漆⿊の闇に覆われると、アダンの実の⻩⾚⾊は失われ、代わりに濃厚な⾹りが⽴ち込める。
写真はもともと⽩⿊で記録され、その中に⼈々は記憶の⾊を重ねてきた。⾃然の恩恵を受けて⽣まれた、無彩⾊に近い有彩⾊の紙に印刷された無彩色の写真。無彩⾊の写真に有彩⾊の記憶、その間に在るものとは何か。

山﨑 萌子

Amami Oshima’s traditional ‘Dorozome’ (mud-dyeing) technique has long been used to achieve a deep black colour. Within the dyeing process, an infinite spectrum of colours exists.
Tannic acid from the Japanese Mokurenbai plum, used in mud-dyeing, reacts with the iron content of the soil - gradually transforming vivid colours into a muted, colourless state. As this process is repeated countless times, eventually the final result, a deep lacquer black, is achieved.
When the sun sinks below the horizon and the sky is shrouded in pitch-black darkness, the yellow-red colour of the pandanus fruits disappears, replaced by a rich scent.
Photographs, which in the past, were captured in black and white, were then layered with the colours of memory. In this case, achromatic photographs are printed onto a paper that is close to colourless, despite having been borne from the blessings of nature.
What lies in the space between colourless photographs and memories, filled with colour?

Moeco Yamazaki