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Yoichi Ochiai

銀口魚の変換過程 I

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銀口魚の変換過程 I のキービジュアル 銀口魚の変換過程 I のキービジュアル

銀口魚の変換過程 I

落合陽一「遍在する身体,交錯する時空間」2022, 展示風景:日下部民藝館

銀口魚の変換過程 I

これらの作品は高山の技巧性の高い手の技を持つ木工作家,伊藤さんとのコラボレーションによって製作された.原型はカリモク家具株式会社の支援によって作家の製作する3Dデータから木材の削り出しを行った.落合陽一は宙に浮かぶ銀彫刻が風景を変換しながら,空間を音楽的な周期帰着させていく.そんな作品を多く作ってきた.映像と物質の変換,波と物質と知能の関係性から展開した質量性と非質量性が止揚した計算機自然を志向するのも,音と光の共感覚の中で風景や空間と一体化したいという作家自身の願望によるところが大きいように思う.本作品は銀口魚(アユ)が三次元的な波の形に変換されていく過程を表現したものである.清流に暮らし,川の藻を食べて過ごすアユは川によって味も違い,まさに土着の川の複雑性を表現する生き物であると思う.日本の古典とも縁が深く,日本書紀では神功皇后が戦果を占うのに川に投げ入れた釣り針で釣った魚が鮎であったとされる(ゆえに魚に占うと書くとされる:中国では同じ字でこれはナマズを意味するのが面白いところだ).神話に遡れば,手長足長にも縁がありそうなテナヅチ・アシナヅチが素戔嗚譚に登場する稲田姫の両親なら,素戔嗚の兄である月詠の月神の託宣を受けて,神石をもって腹を撫で子を孕った伝説が残っていたりもする.太陽神天照に対して反射する光で輝く月の光は鏡や水面のモチーフに似ている.風景を変換する木彫のモチーフとして鮎と神話と鏡とデジタルの輪廻転生の文脈を編む旅から生まれた木彫は,3D データからの削り出しと伊藤さんの技巧性を持って波と生き物の中間の物質として質量ある自然に揺蕩っている.

Transformation Process of Silver Mouse Fish I

These works were produced in collaboration with Shinjiro Ito, a woodworker of Hida Takayama who is highly skilled in his craft. The model was cut out from a block of wood using 3D data produced by the artists with the support of Karimoku Furniture Co.
The silver sculptures floating in the air transform the landscape, bringing space back into a musicallike cycle. Ochiai has created many such works. The artist’ s orientation toward a digital nature in which mass and non-mass developed from the relationship between waves, mass, and intelligence, as well as the transformation of images and mass largely seem to be due to his desire to become one with the landscape and space in the synaesthesia of sound and light.
This work represents the process by which a silver mouth fish, another name for sweetfish in Japanese, is transformed into a three-dimensional wave shape. Living in clear streams and feeding on river algae, the sweetfish has a different taste depending on the conditions of the river it lives in and is a creature that truly expresses the complexity of indigenous rivers. In the Nihon Shoki (The Chronicles of Japan), the sweetfish is said to be the one that Empress Jingu caught with a hook she threw into the river to divine the outcome of a battle (hence the Japanese character for sweetfish can be read as "divination in fish." It is interesting that the same character in Chinese means “catfish” ). If we go back to mythology,
Tenazuchi (arm deity) and Ashinazuchi (leg deity), who seem to be related to the long-limbed and long-legged people, are the parents of the Inadahime deity, who appears in the tale of Susanoo (storm deity). There is a legend that she was conceived by stroking her belly with a sacred stone in response to the oracle of Tsukuyomino-Mikoto (moon deity), who was Susanoo's brother.
The light of the moon shining by the reflection of the sun god Amaterasu resembles the motif of mirrors and water surfaces. With the motif of transforming the landscape, this wood sculpture was born out of a journey blending the context of sweetfish, mythology, mirror, and digital undergoing reincarnation. It is a work cut out using 3D data and brought to life by Mr. Ito's skillfulness, and as a substance that exists between waves and living creatures, it flows in nature with mass.


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