Category Archives: Works

Polyhedral space

Photo: Yasuhiro Chida

MyrkviðrやAnalemmaの実験の為の模型から作品化。立体的に編まれた糸が限りなく疎な状態を作り、空間を可視化する。

Echangeur 22/Mobility #2
Center municipal of art Helio Oiticica Rio de Janeiro
2019
Silver thread, Wood
W:1,100m D:300mm H:600mm

The Himalayas in a zelt

A tent in the mountains,  mountains in a tent. This work was created for a “tent village” (*). This tent was actually used in a mountain setting, and was pitched on Mera Peak at an altitude of 5800m (while the peak lies at 6476m). The mountain is a fictitious thing: it was created by extracting a mountain-like form from memories of mountain climbing and topographic drawings. Although this work does not move, because the scale is not fixed, shifts in scale occur in one’s own visual consciousness. Ridges and valleys appear alternately: all the valleys combine with each other and lead toward the town, while all the ridges become one at the peak of the mountain. Mountains are created by water.

*Annual art event called “art & river bank” held in Ota City. Yasuhiro Chida held workshops called “Making My Own Snow Mountain” during the event. <D.W>

山の中のテント、テントの中の山 。「テント村」(※1)のために作られた。このテントは実際に山で使用しているもので、Mera Peak のハイキャンプ(5800m) でも張られた。山は架空のもので、登山や地形図の記憶から、山らしい形を抽出して作られた。作品に動きはないが、縮尺を設定されていないため、見る意識の中で縮尺上の変化が起こる。尾根と沢は必ず交互に現れ、全ての沢は合わさり街へ、全ての尾根は山頂でひとつになる。山は水により作られる。

※1 art & river bank(大田区)において例年開催されるアート・イベント。会期中、千田泰広による〈MY雪山を作る〉ワークショップが行われた。

Experiencing a consciousness of degeneration through ultra-low frequency sound

In this work, the viewer enters a cocoon with a diameter of 2 meters made by weaving ivy together. With controller in hand, one can adjust the sound from an audible range to an ultra-low frequency (50Hz to 12Hz). Ancient shamen used to make use of this sound in the Maeshowe type of chambered cairns, which were built to give off such ultra-low frequencies, in order to induce changes in consciousness.

This function is controlled by one’s psychological state, so that one’s five senses would have a sense of direction. The act of influencing consciousness without relying on the five senses has a universal function that does not depend on the state that the viewer is in, serving as a sort of compass for one’s psychological environment. <D.W>

蔦を編んで作られた直径約2mの繭の中に入り、風によって超低周波音を発生する装置を体験する。手元のコントローラーによって、可聴域から超低周波音(50Hzから12Hz)まで調整することが可能。古代シャーマンは超低周波音が発生するよう建造された遺跡、メイズハウにおいて、その音を用い意識を変容させていた。

五感は指向性を持つために、その機能は精神状態に左右される。五感によらず意識に影響を与えることは、鑑賞者の状態に依存せず普遍的に機能し、精神の一つの指針となるのではないだろうか。

Hagakure

300kg of iron sand flows down continuously from a height of 7 meters, at the center of an open atrium. A mountain of sand quietly takes shape, starting from nothing. The particle size of this iron sand is strictly aligned: the particles reflect the light and glitter. Emotion, thought, and life itself exist, invisibly, inside time. <D.W>

吹き抜けの中央、高さ7mから300㎏の砂鉄が流れ落ち続ける。何もないところから始まり、砂の山が静かに作られていく。砂鉄は厳密に粒度が揃えられ、光を反射し煌めく。感情、思考、生命は目に見えない時間の中に存在する。

Toyoshina Art Museum/Nagano, Japan
2019
Magnetic sand, Steel pipe, Wood, Stone, Motor, LED
D:2m x W:2m x H:7m

Dilwara

This work attempted to lock up light and time in a fluid material: a sculpture made of fluids whose shape is determined by their continuous flow. 1000 liters of oil cascade continuously from the ceiling like a waterfall, inside a 40 foot shipping container. Because of its viscosity, the flowing oil appears to be stationary. At the bottom, the brimming pool of oil shimmers quietly, its surface expanding like a mirror.

Nature establishes a relationship with humans just by being there. As such, it is possible to interpret and receive it in any way: we see in nature what we, ourselves, saw there. Nature is like a mirror that reflects the inner self. Things that are hard to grasp — like the stunning beauty of nature, its complexity, and the laws behind these phenomena — are transferred into the work just as they are, without attempting to impose understanding on them. Artistic creation wrought by a human hand that does not depend on it forges an intimate relationship with nature. The relationship between the author and nature, that between the author and the viewer, that between nature mediated by the artwork, and that between people who have experienced the work, all have a “loop”(*) that runs through them that differs from the act of confronting nature directly. A truly distinct sense of an individual or ethnic group — such as the Japanese sensibility of wa (harmony) — consists in what remains after superficial forms of expression and technique have been eliminated. The pallid light used in this work is one of the four colors that the Japanese have been aware of since ancient times: red, white, black, and blue. Blue is a color that connotes beauty. It is also the color of the thin atmosphere that covers the surface of the Earth as seen from space — to me, the most beautiful color of all.

 *The Japanese for “loop” is wa 輪, which is a homonym for wa 和, a term that refers to harmony, and Japanese culture and attributes in general. <D.W>

流動的な物質の中に光と時間を閉じ込める。流れ落ち続ける液体によって形作られる液体の彫刻。40ft の輸送用コンテナ内、1000L のオイルが天井から滝のように流れ落ち続ける。流れるオイルはその粘性により静止して見える。底にはオイルを湛えたプールが鏡のように広がり静かに揺らぐ。

自然はただそこにあることで人と関わる。それ故にどのようにも受け取ることができ、人はそこに「自分の見たもの」を見る。それは内面を写す鏡のようである。自然の圧倒的な美しさ、複雑さ、その背後にある法則。それらの捉え難いものを捉えないまま作品へと移行させる。人の手によるが人の手によらない制作は、自然と親密な関係を結ぶ。そこには作者と自然の関わり、作者と鑑賞者の関わり、作品を介しての自然との関わり、作品を体験した人同士の関わり、自然と直に向き合う事とはまた違った「輪」が広がる。本来の個性や民族性-日本人の感性「和」-は、表面的な表現や技法を外し、突き詰めたその先に残るものである。作品に使われる青白い照明は、日本人が古くから認識していた四色「赤し」「白し」「黒し」「青し」のうちの一色で、美しさに関する色であり、また私が最も美しいと感じる、宇宙から見た地球の表面を薄く覆う大気の色である。

Retina Light

Photo: Yasuhiro Chida

Light is the purest of all materials. It is a presence that is more certain than either space or time. Humans necessarily evolved to become creatures that depend on sight. Light exists only in living organisms.

Light strikes cotton that is rotating at a fast speed. The contours of this material become blurred as a result of the rotation, so that it becomes just a mass of light. Visitors see the image that this light leaves behind on their retina.  <D.W>

最も純粋な物質としての光。空間や時間より確かな存在、人が視覚に頼る生物である必然。生体の中にのみ存在する光。

高速で回転する綿に光が当てられている。回転によって物質の輪郭は曖昧になり、光のみの存在になる。鑑賞者は網膜に残る光の像を見る。

Toyoshina Art Museum/Nagano, Japan
2008
LED, Motor, Cotton
W:400mm D:400mm H:400mm

Hilbert

Photo: Yasuhiro Chida

A cave made out of cotton fluff taken from about 8000 reeds was installed in the gallery. Hanging in the center is a translucent board measuring 7 meters long that vibrates faintly, making its outline rather ambiguous. Light strikes the board, causing the shadows and reflected light to quietly and gently dissolve into the walls of cotton fluff.

Just as a fish in water does not notice the water, it is difficult for us to perceive a space while we are in it. By being outside it, we become able to grasp the situation. By being aware of a situation in which that space is absent, forming an image, and perceiving it, would it be possible to deal with that space from a position outside it — outside this space that we ordinarily occupy as if it were perfectly natural to do so? In order to perceive a situation in which that space is absent, things that are equivalent to space, or more certain than it — in other words, light, time, or gravity — can serve as guideposts. <D.W>

展示室内に約8,000本の葦の綿毛による洞窟を制作。中央に7mの半透明の板が浮かぶ。板は微かに振動しその輪郭は曖昧になる。板に光が当たり、影とその反射光は静かに綿毛の内壁へ柔らかく溶けている。

水の中にいる魚が水に気づかないように、空間の中にいると空間を知覚するのは難しい。その外にいることで、それ自体を扱えるようになる。空間のない状態を意識し、イメージ、知覚することによって、私たちが当たり前のようにいる空間の外へ出て、空間を扱うことが出来るのではないだろうか。空間のない状態を感覚する為には、空間と同等もしくはより確かなもの、つまり、光や時間、重力が手がかりとなる。

Rokuzan Kensei Hall/Nagano, Japan
2008
Reed, Motor, LED, Wood
W:6m D:12m H:3m

Kalamatoria 02

13km worth of black and silver threads twisted together were stretched out in a reticulated structure across a large open atrium. The entire form was necessarily dictated by the interior space of the architecture, lines of movement, the movement of the sun, and the placement of the security sensors. The work appeared and disappeared again depending on the existing lighting arrangements and reflected natural light, shifting in an infinite number of variations as time passes. The points of light also twinkle and appear depending on the movements of the viewer. This is a sculpture that consists of phenomena, existing within the movements of the Sun and the visitor. <D.W>

黒と銀の撚り合わされた糸が延べ13km分、吹き抜けの大空間に立体網目状に張り巡らされている。全体の形状は建築の内部空間、動線、太陽の動き、セキュリティーセンサーの配置等から必然的に導き出された。作品は既存の照明と自然光の反射によって現れては消え、時間と共に無限の変化を見せる。また、鑑賞者の動きによって光の点は瞬きとなって現れる。太陽の動きと行為の中に存在する現象の彫刻。

 

Kalamatoria 01

13 objects of various materials and forms, made through different techniques, hang suspended in the air. Each one is illuminated by light with a unique color from a particular direction, and the audience can view the work from the corridor.

Meaning is measured through space. Light and objects, the invisible forces such as their shadows and gravitational force, the act of viewing them — the direction and meaning of all of these are loosely connected to each other, while inducing an unrelated shift in the quality of the space. <D.W>

13の様々な素材と形状、技法によるオブジェクトが空中に浮かんでいる。 それぞれに固有の色と方向を持った照明がされ、鑑賞者は周囲の回廊から鑑賞する。

空間によって意味を測量する。光とオブジェクト、その影と引力などの目に見えない力、鑑賞する行為、それらの方向性や意味がゆるやかに繋がり、あるいは無関係に、空間の質を変化させる。

Kalama Park Project

This project involves creating an art park that visitors can stay in, combining my past works with new ones. As many of my previous works were made for temporary installations, only video footage of them remains. Here, more than 50 pieces were installed permanently in a space where visitors can experience the works at any time. Also on permanent display are works with a connection to the surrounding natural environment and the movement of the celestial bodies. In this museum, guests can stay inside the interior of these works which have a variety of different possible uses, such as the background for photos in fashion magazines, or as a hall for concerts and events. The workshop also functions as a base for local residents or artist residencies. I am currently looking for a site to realize this project. <D.W>

過去の作品と新作を合わせ、滞在型の美術公園を作るプロジェクト。過去の作品の多くが一時的な展示の為に作られ映像でしか残されていない。50以上ある作品群を恒久的に設置し、いつでも作品を体験出来る場を作る。周囲の自然環境や、天体の運行と関連した作品も常設される。作品の内部に泊まれる美術館として、ファッション誌などの写真の背景として、コンサートやイベントのホールとしてなど、様々な用途に使われる。工房は、地域の人や作家の滞在制作の拠点としても機能する。現在建設用地を探している。