curtain #13

塵埃 #1 / grit and dust #1

curtain #3

1994年東京生まれ。2017年武蔵野美術大学造形学部油絵学科油絵専攻卒業、19年同大学大学院修士課程修了。近年の個展に、「夜の光と遠い星」(コート・ギャラリー国立、東京、2015)、「遊びと星取り」(アートスペース88、東京、2018)、「ニュースケール」(小伝馬町JINEN GALLERY、東京、2018)、「空気の底」(児玉画廊、東京、2019)など。CAF賞2019ファイナリスト。



〈curtain〉シリーズでは、カーテンとその付近に舞う埃などとともに、はっきりとした輪郭を持つ別の物質が重ねて焼きつけられている。画面全体の青色の濃淡からは外光の存在も感じさせられるだろう。木下にとってカーテンは、その向こう側に存在する実態を投影し、遠くの自然や出来事を身近に感じることができるような装置である。その様子をサイアノタイプによって再びとらえた作品は、日頃見過ごしがちなあらゆる事物へと観る者を誘い、それらと自分との心理的な距離感にも意識を向けさせるかもしれない。《grit and dust #1》では、浮遊する塵埃とハンドライティングのようなラインが映し出され、予期せぬ天災や人災など常に「不安」を抱えざるをえないこの世界を、木下が等身大の方法で計り、知覚しようと試みた軌跡が窺える。

Riko Kinoshita was born in Tokyo in 1994. She graduated from the Department of Painting at Musashino Art University’s College of Art and Design in 2017, and completed a Master’s Degree Program at the university’s Graduate School of Art and Design in 2019. Her recent solo exhibitions include Nocturnal Lights and Stars Afar (Court Gallery, Tokyo, 2015), Play and Catching Stars (Art Space 88, Tokyo, 2018),  NEW SCALE (Kodenma Jinen Gallery, Tokyo, 2019), and At the Bottom of Atmosphere (Kodama Gallery, Tokyo, 2019). She was a finalist at the 2019 Contemporary Art Foundation Awards.

Kinoshita calls her works “drawings” regardless of whether they are executed in two or three dimensions, and perceives her creative process as “manifesting images received from the world” and “an unpredictable, playful act”.
The three works presented in this room are all executed in cyanotype on paper. Kinoshita’s process involves exposing the prepared surface to sunlight while shading parts of it with objects such as thin paper, wire, nets, and paper clay. This creates gracefully curving lines and patterns with gentle gradients reminiscent of traditional aizome (indigo-dyed) textiles.
In her curtain series, images of curtains and nearby floating dust particles have clear, burned-in outlines of other objects superimposed over them.The different shades of blue across the surface as a whole evoke the presence of outdoor light.To Kinoshita, curtains are an apparatus that projects the reality that exists beyond, making distant natural features and events feel closer. These works recapture this idea in cyanotype, inviting the viewer to examine the things we tend to overlook in everyday life, and perhaps even directing the viewer’s awareness to their psychological distance from such things.
In grit and dust #1, projections of floating dust and lines like handwriting trace Kinoshita’s trajectory as she seeks to use methods on a human scale to measure and perceive a world pregnant with permanent anxiety due to unpredictable disasters both natural and human.