九の目と黒い枠／ Nine Eyes and Black Frame

2016

アクリル、キャンバス／ acrylic on canvas

162 x 162 cm

九の目が鑑賞者の方を向いている一方で、鑑賞者の視点は定着することなく、九の目と黒い枠の上をぐるぐると動かされる。いわば絵画と鑑賞者が互いに視覚器官によって知覚しあうかっこうだ。しかし、鑑賞者が九の目それぞれに差異が無いと気づくと、途端にフォーカスするという行為の意味が頭をもたげ始める。連続する目の孕む匿名性が、画一化された価値や情報の在り方へとつながり、それに対峙する現代の人々を試しジャッジするかのように強く存在し続ける。その自律性によって、絵画は再び自由になる。

坪山斉

While the nine-eyes face the viewer, the viewer's point of view moves in circles over the nine-eyes and the black frame without settling in. In other words, the painting and the viewer perceive each other through their visual organs. However, as soon as the viewer realizes that there is no difference between the nine eyes, the meaning of the act of focusing begins to rear its head. The anonymity of the continuous eyes leads to the uniformity of values and information, and continues to exist strongly as if to test and judge the people of today who are confronted with it. With that autonomy, the painting becomes free again.

Hitoshi Tsuboyama