EXHIBITIONS

  • 多和圭三  多摩美術大学退職記念展
  • 多和圭三  多摩美術大学退職記念展

多和圭三 多摩美術大学退職記念展An Exhibition to Commemorate Keizo TAWA's Retirement from Tama Art University

2020年1月20日 ー 2020年2月15日January 20, 2020 - February 15, 2020

ヒノギャラリーでは2020年1月20日(月)より「多和圭三 多摩美術大学退職記念展」を開催いたします。

多和圭三は40年以上鉄を主材とし制作を続ける彫刻家です。本展は2009年より多摩美術大学美術学部彫刻学科の教授として教鞭を執った多和の退職記念展となります。就任した2009年から現在に至るまでの11年間に制作された作品を、新作を中心に展観いたします。

多和は素材、主に鉄をとおして人間と物質の関係を探りながら、最終的にひとを含む「もの」の在り方を制作の中で追求しています。とはいえ、おそらく本人はもっと素朴で原初的なところにその意識を巡らせており、それは2010年に足利市立美術館を皮切りに開催された個展「鉄を叩く−多和圭三展」や、直近で参加の平塚市美術館から巡回したグループ展「空間に線を引く 彫刻とデッサン展」のカタログに寄せた、詩的で人間味溢れる自身のことばからもうかがうことができます。


昼寝
目をあけると空
一瞬 底なしの空に落ちそうになる
必死に 背中で しがみつく

「鉄を叩く−多和圭三展」図録より抜粋


あることによって成る 何か
光と空に 剥き出しの自分
孤独か 一体か
光の強さに押しつぶされ
やがて消え 光が残る

「空間に線を引く 彫刻とデッサン展」カタログより抜粋


多和が長年向き合っている鉄は、言うまでもなくどっしりと重く、その存在感たるや強靭堅固で、たとえ小さくとも、それは「ある」ことを顕示するに充分な素材です。しかし、多和の作品をよくよく見ていくと、どうやら作家はこの圧倒的な実在性を認める一方で、その表裏をなす虚無へも同等の意識を向けていることがわかります。いつかは消えゆくすべての「もの」を慮り、存在することの難しさや厳しさ、またそうであるからこそのありがたさや尊さを、多和によって導き出された「もの」は作家に代わって黙然と、そこに「ある」ことで教示し続けます。

本展では、旧作より鉄はもちろん、大谷石を使った作品を、そしてここ10年ほど取り組んでいる鉄のスクラップによる新作3点を展示いたします。
島のような不思議なかたちをしたそれら3点は、これまでの制作で出たあまった端材の鉄、または用途のない廃材からつくられたもので、実は鑑賞者からは容易に見ることのできない接地面(底面)が研磨され鏡面になっているといいます。この表現もまた、ここ数年多和が意識的におこなっているアプローチで、そこには「もの」の実在性を強調しながらも、他を映し出す鏡面(鏡像)にすることで、その実体を消しなくしてしまおうという対照的な試みがなされています。作家の中にある虚実の概念は、こうしたところからもうかがい知ることができるでしょう。

多和にとっては一つの節目となる今回の展覧会。これまでの仕事を振り返りつつ、これからのさらなる展開に注目しながらご高覧いただければ幸いに存じます。

Image: 「ブ、ツ、シ、ツ、-成・2-」 2019, 鉄, 30×38×39 cm

Hino gallery is pleased to present a solo exhibition by Keizo Tawa from Monday, January 20th, at the beginning of the new year, 2020.

Keizo Tawa is a sculptor who has been working with iron as his main material for over 40 years. This exhibition is set to commemorate Tawa’s retirement from Tama Art University, where he has been working as a professor of the sculpture department since 2009. The show will consist of his most recent works, primarily, and a few selected works which have been created during the 11 years since Tawa assumed the position at the university.

In Tawa’s creations, he has been ultimately pursuing the ways of being as “a thing,” that also includes people, perhaps even the artist himself, while exploring the relationship between material objects and human beings through his chosen materials, especially iron. Having said that, this pursuance could probably come from a more honest and primitive place in his artistic mind as it reads from his own words, poetic and with a distinctly human touch, contributed to a catalogue of his touring solo exhibition “Keizo TAWA – Striking Iron,” started by the Ashikaga Museum of Art, Tochigi, in 2010, as well as an exhibition entitled “Delineate Space – Sculpture and Dessin” which is the latest touring group show in which Tawa participated, started by the Hiratsuka Museum of Art, Kanagawa.


and then I took a nap
Then when I opened my eyes, there was the sky
For a moment, it felt like I was about to fall into the bottomless sky
Desperately holding on with my back

Excerpt from a catalogue “Keizo TAWA – Striking Iron”


Something that works out by just being
In light and sky, my bare self
Isolation? Togetherness?
Squashed by the light’s intensity
Eventually vanish, and only light remains

Excerpt from a catalogue “Delineate Space – Sculpture and Dessin”


Needless to say, the iron that Tawa has been using as his chosen material is stout, heavy, and exudes a true sense of existence, tough and firm, that is strong enough to attest to “real being” no matter how small it is. However, upon observing his oeuvre more carefully, you may perceive that the artist also focuses on insubstantiality at the same time as he recognizes its irresistible substantiality.

Tawa gives much thought to the fact that every “thing” will vanish away sooner or later, and his works that he calls “Mono; a thing” will continuously enlighten us about the difficulty or ironhandedness of existing and, all the more, the gratefulness and preciousness of just being there quietly as though a surrogate for the artist himself.

In this exhibition, a sculpture made from Ohya stone from Tawa’s previous works, as well as iron sculptures and three works from his latest creation which are made by the use of scrap iron that Tawa has been working on for the past decade will be showcased.
Those three, island-like, uniquely shaped works consist of iron material that was left over in the process of his production thus far, or scrap yielded in an iron mill which has no apparent use. Despite that, those works’ bottom faces, which cannot be seen, are polished up until the artist has achieved a mirrored finish. This approach is also the way that Tawa has intentionally taken on in his creations for all these years, and it is attributed to his contrasting attempt to emphasize the real beingness of “Mono; a thing,” while at the same time, to eliminate its beingness by replacing it with a mirrored image, born from the mirror-finished face that reflects outside entities. It could also suggest that this approach is based on the artist’s sense of both substantiality and insubstantiality.

This exhibition will make for a significant milestone in Tawa’s artistic career. We hope you will view it while simultaneously looking back fondly on his previous work as well as looking forward to what the future has in store for this exceptional artist.

Image: Bu Tsu Shi Tsu -SEI・2- 2019, Iron, 30×38×39 cm