uspp(unspeakable painting project)

亡くなった人を含めて、今現在会話することのできない、人、物、植物、などとの対話を試みるプロジェクト。

 
当初、目の前にいない人と話がしてみたいというところから始まったこのコミュニケーションというテーマも、人だけではなく、様々なものとのコミュニケーションも視野に入れつつ、その距離感や、空想、間、最近ではパネルから作り、絵を描き、その上に和紙を貼るという工程を経て支持体を作るという、絵を描く前の過程から、ものとの対話を繰り返しながら制作を試みています。 
モチーフは、戦争、カヌー、七福神、サボテン、支持体はキャンバスから和紙へ、さまざまな変遷はありますが、どの作品もアクリル絵具と油絵具の両方を使って描いたものです。 
 
・以前描いていた公衆電話は、亡くなった人を含め、目の前にいない人とのコミュニケーションを、 
・戦争では、過去とのコミュニケーションを、、、(否定的な側面が絵画になった時、何かに変わる瞬間を) 
・カヌーは、最近関わり合いのあった人とのコミュニケーションを、、、(アートプロジェクトで多くの人と一緒に作ったカヌーをモチーフに) 
・七福神のモチーフでは、見たことのない神様とのコミュニケーションを、、、 
・サボテンは、海外からやって来た異色の存在とのコミュニケーションを、、、 


This project attempts to communicate with people, objects, and plants, including those who have passed away, with whom we are currently unable to have a conversation.


This theme of communication, which initially started with the idea of talking to people who were not in front of me, is now being applied to communication not only with people, but also with various things, including distance, fantasy, pauses, and recently, the process of making a panel, drawing a picture, and applying Japanese paper over it. He attempts to create his works by repeating the process of dialogue with objects, starting from the process before painting, which is to create a support. 
The motifs have undergone various transitions, from war, canoes, the Seven Lucky Gods, cacti, and supports from canvas to Japanese paper, but each work is painted using both acrylic and oil paints.

     The pay phone I used to draw before, communicating with people who are not in front of me, including those who have passed away,
...In war, communication with the past,,, (when the negative aspect becomes a painting, a moment that turns into something).
The canoe is to communicate with people who have recently been involved in the project, (using the motif of the canoe that was built with many people in the art project).
The Seven Gods of Good Fortune motif allows us to communicate with gods we have never seen before,..,
Cactus communicates with different beings, who came from abroad,...,

uspp

unspealable painting project

'Exploring ways to live with others using God, war, and alien species as a starting point'.

Yasuhara, who has long been creating works based on the concept of communication (dialogue), began with the motif of a public telephone connecting people, and has recently shifted to dialogue with the times, including war.

And for the past two years, he has been using invisible gods as his subject matter.

I chose the Seven Lucky Gods for their familiarity, but not for their standard smiling faces. It looks like a dead leaf with a hole in it, or a Halloween mask. But the gaping shells are the pathways of an invisible god who seems to wander in and out of them, letting you vent your worries. Above all, the red color of the small window, which is drawn in by the synergistic effect of the complementary green, reminds me of the carbide fire I used to see at night stalls in the old days.

He has already started painting cactus as his next subject, "something that should not have existed in Japan.

The work also raises the issue of how to live with others in relation to the problem of climate change, an issue that goes beyond art and challenges humankind.

written by Masaaki Yasima

’神、戦争、外来種を切り口に他者と生きる道を探る‘

かねてからコミュニケーション(対話)をコンセプトに据えた制作を続けている安原は、人と人を繋ぐ公衆電話のモチーフから始まり、最近は時代との対話に移行し、戦争もその範疇に入れてきた。

そしてここ2年ほどは目に見えない神が題材となる。

親しみやすさから選んだのが七福神だが、あのお決まりのニコニコ顔ではない。穴の空いた枯葉にも、ハロウィンの仮面にも見える。だが隙間だらけの殻はまさしく姿の見えない神の通り道で、軽やかに迷い込んでしまい悩み事を吐き出させてくれそうだ。何よりその小窓の赤に誘われ、補色の緑との相乗効果で引き立つ赤が、昔の夜店でよく見かけたカーバイトの火を思い出させて懐かしい。

既に次の題材である「日本にはなかった筈のもの」としてサボテンを描き始めたという。

気候変動の問題も絡めて他者とどう生きるか、アートを越えた人類の課題をも投げかけてくれる。


 ー八島正明ー


ENG Distance is a dimension that permeates our experiences, a complex concept that spans both space and time. It is a physical measure, but it also takes on a metaphorical dimension, allowing us to reflect on our existence and the connections we have with the people and things around us. In the spatial context, distance is evident in the thousands of miles that separate distant places. When we cross geographical barriers, we experience encounters with what is different from us, thus enriching our perspective of the world. But distance is not only a matter of space; it is also manifested in time. Human history is littered with past eras, vanished civilizations and people who lived before us and did things before us. Desiring to connect with the past allows us to literally discover new worlds, crossing the thresholds of the physically possible. Distance in time and space creates challenges in communication, but it also drives us to find innovative ways to overcome these barriers. This desire to communicate with distant places and the past is intrinsic to human beings because it reflects our innate curiosity, our search for connection and meaning. Through communication, we can transcend space-time barriers and make connections beyond our individual existence. Hiro Hirotaka, through his works, deeply examines the theme of communication between places and times far removed from his everyday life, and to do so he uses art, a universal language whose letters are images. He uses the motif of the seven gods of fortune to communicate with invisible deities, he creates the theme of the canoe to communicate with people he has recently seen, he uses the theme of the telephone to communicate with the past, with people who are no longer there. Finally, the cactus subject is charged with establishing a connection with people overseas. Through a rather peculiar technique, using acrylic paint and oil pigment that he drips into the interstices that form the outline of the image, the artist creates images deeply divided by a fracture that horizontally cuts the work in half. Each part of the work contains its own unique representation of the cactus going to create a mirrored representation but one that is, in fact, reflective of nothing at all. The plants, which seem to mirror each other, have the same formal characteristics, the same structure, the same structural conformation. Yet, although they look very similar, the two cacti seem to be composed of contrasting elements, of colors that are almost complementary. In a word: they are two different entities and so they must remain. Although the two cacti, like two souls, touch each other along this black dividing line, the two plants remain anchored to what they really are, without undergoing changes and mutations in their encounter with each other. They realize that they are very similar, that they have the same physical conformation and yet, in their souls they are so different, almost as complementary as the colors that characterize them. And therein lies the beauty. Neither cactus overpowers the other, and both realize that they are extremely similar, that they belong to the same species. Yet, just as it happens with human beings, each of them has its own uniqueness inside, its own soul that is completely different from that of the other as unique beings. These cacti, are just like us: we meet each other, we desire to communicate with each other, we assimilate new elements, new cultures and enrich who we are with new discoveries and relationships. Yet, our soul will remain as it is in that it cannot be changed. It is something unique and unrepeatable of its kind, and that is the beauty of it.

Lisa Galletti

NFT

usppとして、NFTで販売しています。