Director: Yasuhiro Chida
Photo: Yasuhiro Chida
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Photo: Sander Heezen
Into The Great Wide Open/Vlieland, Netherlands
2019
Silk thread, Projector
Flexible D:30m x W:15m x H:12m
This work was exhibited at a pop-culture festival in the Netherlands. Inside the dark forest, the viewers experienced being surrounded by countless ascending particles of light. White pieces of thread were woven in a three-dimensional, polygonal form, which totaled several kilometers in length. This form functioned as a 3D screen, onto which thin lines of lights were irradiated via a projector. These linear lights repeatedly appeared from the ground, then ascended and disappeared. In addition, the particles of light manifested themselves at the intersections between the threads and the linear lights. Even though the linear lights ascended at a constant speed, the light particles appeared as if they were all moving at different speeds. These differences occurred depending on the distances of the threads from the light source and the angles of the woven threads. That is, the closer the thread was to a perfect horizontal line, the faster the linear light moved, and the closer it was to a perfect vertical line, the slower the light moved. Complex phenomena took place before the viewer’s eyes, despite Chida’s use of a simple structure and materials. Faint rainbow colors were also manifested over the light particles due to the shift in hues, caused by the type of DLP (Digital Light Processing) projector that was used. Inside the installation were several paths for the viewers to walk through, as well as a wide space where they could lay on the soft ground covered with moss, while also experiencing the work with the Milky Way as the backdrop.
Chida considers a “space” that cannot be seen or touched to be associated with a sense of beauty. In the past, painters continued to contrive ways to express “space” on a two-dimensional plane, at times using scientific ideas, while at other times relying on their own sensibilities. Everyone has experienced a time when the overall effect of a certain spatial environment has made them feel comfortable, whether it be inside a building or in nature. So what then is a “space” to us? The position coordinates in a three-dimensional space can be expressed with vector and scalar quantities, but can this be considered the same as a space that contains beauty? What sort of a space is the one a dancer or athlete captures via his/her body? Even though all things exist in a three-dimensional space, we are unable to perceive the space itself. This work was devised to manifest beauty/space itself through pervading the space with low-density materials and by drawing closer to it as a perceivable existence. (T. N.)
暗い森の中、上昇する無数の光の粒に囲まれる体験をする。空間内に立体網目状に、数㎞に及ぶ白い糸が張り巡らされている。それを三次元のスクリーンとして、プロジェクターから細い光の線が照射される。光の線は繰り返し足元から現れ、上昇しては消えていく。糸と光の線の交点に、光の粒が現れる。光の線の上昇速度は一定だが、光源からの距離と、編まれた糸の角度によって―糸が水平に近いほど速く垂直に近いほど遅い―、全ての光の粒が異なる速度で動いているように見える。シンプルな素材、単純な構造でありながら、複雑な現象が起きる。またDLPプロジェクターの欠点である色相のずれにより、光の粒は微かに虹色がかっている。作品内部には、通り抜けられるいくつかの道と、広い空間があり、苔に覆われた柔らかい地面に寝転がり、天の川を背景に作品を体験する。
目に見えず、触ることのできない、「空間」というものが美しさに関係しているのではないか。過去に画家達はときに科学的に、ときに感性を通じ、平面上に空間を表そうと工夫を重ねてきた。建築や自然の中で感じられる心地良さに、空間が影響していることは誰もが経験したことがあるだろう。では空間とは一体なにか。ベクトル量とスカラー量で三次元上の位置座標を表すことが出来るが、それは美しさを孕んだ空間と同じものだろうか。ダンサーやアスリートが身体で捉えている空間はどのようなものだろうか。あらゆるものはその中に存在しているにも関わらず、空間自体を知覚することは叶わないが、希薄な物質で空間を満たし、知覚可能な存在に近づけることで、美しさ＝空間そのものが立ち現れるようにした。