髙田(TAKATA)芳樹氏の造形表現について

造形作家:上 杉 英 ー Suguru Uesugi MAY 2008

Saijiki髙田芳樹氏が表現する事の意図性には、表層的切り取りによって断片化された様々な事象から、イメージの軌跡に見て側を誘い、その辿る道筋への自由性を全的に保障しながら、時間の内包性の仕組みに委ね
包み、挿み、詰め込み、鋳込み
隠蔽化し、皮膜化し、数値化し、模刻化し
移動させ、透視させ、停留させ、測定させ
解く、覗く、透かし、測る
を、展開させ穏やかな共感のもとに共有関係の場を掘り起こしたいと言う考えが根底に成り立っているのであろう。幻想との表裏性を熟知しながら。

「人」と「物」「事」との関わりあえる可能性を探る為に。

私は髙田芳樹氏の造形表現をこの様に見て来て「時間の内包性」を軸にウイングの振幅を自在に展開させる姿勢に大きく関心を持ち始めている。

髙田芳樹氏の作品を通して試みるコメントを婉曲に仕向けてみれば!
「三鷹、ギャラリー由芽」及び「荻窪、ギャラリー茶房歳時季」に展開した作品を手掛かりとして。

Box Art作り手側から提示されたこれらの作品は、見て側によるイメージの新たな喚起を求める為の装置性がー潜在的に互換としての関係性を求めているー意図ではないか?
それ故に当然にも見て側からイメージ喚起されたものは全的に尊重し保障すると言う姿勢は確かな様である。
作品はファインダー性への誘いの意図がベースに据えられている。
作り手として、編み出されて来る物は既成の枠組から解放させる為の触媒として自然体としてのその仕組みであって、他の何物でもないのであろう!
人の「感じる」と言う働き機能は、なかなかに厄介な物である。
見て側の人が見るもの(見えるもの)に対し、他の人の見る目(見える目)の物と同じで在りたいと思い、と同時に同じには立ちたくないと言うアンビヴァレンツな行動、様相を見せる(見せてしまう)。
Saijikiそのことを踏まえた作り手は、作る事に自身楽しんでいる事を他の誰よりも先に確かめる事が出来る立場に居る事良く知っている。
それだけに作り手の、作る事に楽しむ事を楽しむ目の対象に捉われながらも楽しむ事を停止する事はなく、見る人がその見る目を一時でも一瞬でも作り手作品に留めて呉れる限りと、シンプルな愉快感への密やかな期待を描いている(抱いている)。
その根底には、人が表現された物へ見たい誘惑に駆られてみる事を求め楽しみたいと思う限り、その欲求を可能な限り充たして上げる可く、作り手は表現する事の意味(役割?)が有ると言う姿勢の一端として認識されているからであろう。
自然なままに共感性を持ち合い、関係性をゆっくりと響き交わす事の可能性を、髙田芳樹氏は、心の内側の断面に求めて居るのではないかと思う。   

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For the Creative Expression of Yoshiki Takata

Artist, SUGURU UESUGI, MAY 2008

SaijikiThe intention of Yoshiki Takata's creation is assumed that it completes the share-related place of value as the sympathy to various matters that appear through a work between an artist and an audience to look at.
His works simply provide cutting the outer layer of things and they are extremely fragmented. Being fragmented and superficial for audiences, they would relive time through connecting the images of his intention, his encounter, to display pieces in the various forms. However, Yoshiki Takata doesn't direct the time to relive and the seeing images of audiences.
Yoshiki Takata's should perform the way of his expressions such as wrapping, inserting, packing, casting, encapsulating, filming, digitalizing, schematic time, transferring, making it translucent, pausing, measuring, solving, peeking, thinning, in understanding the hidden illusion behind fragments of a thin outer layer while familiar with the illusion of front and back.

IN ORDER TO EXPLORE THE POTENTIAL RELATIONSHIP BETWEEN "HUMANBEING" AND "MATERIAL," "DEED."

My interest has begun to expand significantly in his posture of the wing to swing freely that develops the amplitude of the wing centering on "connotation characteristics of time" or "of the time encapsulated" while looking at his creative expression.

If I induce it by comment to try through the work of Yoshiki Takata euphemistically!
(From his exhibitions at Gallery Yume and Gallery Saijiki as a clue. )

Box ArtThese works presented by him connote "finding a relationship as potentially compatible" as of equipment asking for new evocation of the image by audiences. That is why things of evoked images by audiences from the natural attitude are therefore said to totally guarantee respect for certain. These works are based on an invitation to the viewfinder characteristics by intention.

His work created become the catalyst released from the established framework and is naturally a part of its mechanism. Then it wouldn't be anything else. The function "feel" of human being is a quite difficult matter. The "feelin" of audiences acts and shows ambivalence. Audiences (what they can look or see) would like to have the same values as the other people can look or see and simultaneously they wouldn't like to have the same values the other people have.

SaijikiYoshiki Takata who is aware of the audiences' ambivalence, knows well that he is in the position to confirm for the first enjoying himself in making. Therefore as a creator, he doesn't suspend enjoying in the object of audiences' eyes paying attention with joys to his practices. Then he holds the expectation of simple pleasure in his heart as long as audiences keep their eyes watching in his works for a moment and at one time.
He thinks that there are meanings, values, mission, and willingness of his expression while audiences feel joy and temptation to look at his works. Moreover in his thoughts, if he represents anyway, he would like to reply to audiences' desire to enjoy watching.

Yoshiki Takata seems to try to make a relationship of an exchangeable sound between audiences and himself, and time and place he spends. Therefore he thinks that simple and natural expression forms (method and technique) would be a key to tie co-sensitivity due to his natural confrontation with those.   

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