ABSTRACT ART

ABSTRACT ART

殘骸下的生命輪迴 │Daisuke Tsuchigahataདྷ⩽♊⠛殘骸下 の 生 命 輪 迴
畫作中運用生物的屍體殘骸來提醒人們對“生命”的意義。Tsuchigahata 更以特殊的織品，如襪子來搭配日式
畫紙與天然礦物顏料作為創作媒材，繪畫出半抽象的視覺想像，用畫筆將大自然的生死輪迴注入畫中。

߭ヶὉञ˛
Daisuke
Tsuchigahataȭ
igrek.gallery@gmail.com
http://daisuke.yukishigure.com/

Daisuke Tsuchigahata ӛᮝᅠ 1980 ౺ᅺ቏ቺˊȯ2008 ౺રໞቺռ♊⠛డẤञણᷟंણ̤ȯሯ⃻Ᏻ᪀⥓घञᩦŊʏ߱ᅺ቏‫♊׳‬಴な↲ሷ̳‫ٴ‬ଭӛȯ
1980 Born in Tokyo
2008 Completed the Master’s Program of Tohoku University of Art and Design
Selected Exhibitions
2009 ULTRA02 (Tokyo)
THE PORTFOLIO SPECIAL (Kyoto)
Omotesando Gallery (Tokyo)
2008 Gallery b. TOKYO (Tokyo)
Cow parade Tokyo Marunouchi 2008(Tokyo)
Gallery dg (Tokyo)
Art Award Tokyo 20082007 Gallery Seira (Tokyo)
2006 Tokyo Central Museum(Tokyo)
Yamagata Prefectures Museum(Yamagata)
Tokyo bijutsu club (Tokyo)
2005 Tokyo bijutsu club (Tokyo)
Award
2008 Art Award Tokyo 2008 (Miwa Yanagi Award)
2007 The 16th Garyuzakura Japanese Panting Award (incentive award)
The 21st Ueno Royal Museum Grand Prize (Win awards)
2006 The 3rd Toyohachi Triennial Shingo Hoshino Award (Win awards)

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2009 | dpi

01. Dreaming Banana
114.0ć22.1 cmōJapanese paper, mineral color, pigment, Ink,Stockingō2004
02. Decaying bird
162.0ć194.0 cmōJapanese paperȮplasterȮmineral colorȮ
pigmentȮInkȮcolorantȮStockingȮStringȮwoolen yarnō2005

dpi | 2009105

ABSTRACT ART

ABSTRACT ART

殘骸下的生命輪迴 │Daisuke Tsuchigahataདྷ⩽♊⠛

動物的屍體殘骸
ሳ⿭আᯉⳆˀ˫ᮝ᧎ᣅʙ㆛᱿̳‫ٴ‬Ŋᆯ Tsuchigahata ሷɺटาक߸߱⭰ⴗ᳖⣲̡ដ┮᳷घ➒⟘᱿ᣏ㏷ଧ㋤ȯ˟Ἄᤋʴ⤟ӷŊӓᆯᮝ᧎ⵣሳሷᮝ‫⃌ل‬ታ᱿ɺटŊ̟໣⥓ʬሳሷ͗ᮝȯ≟ Tsuchigahata ⤌വⳆᆯ㄄౑⇾㓚᱿᫠⩽ȯЭ˟ሱ۹ᔊ᱿̳‫ٴ‬ᆯơBirdƢŊଔᆯ᳖┮ᣏ㏷ଧ㋤໽↘ᯉӛ᱿ȯ␕‫˟׏‬ሱʝᆹ⿵᱿ԡ̳ᆯơᮙ␑◗ƢŊᆯഺҹट⿭আᯉŊɺ᳅ӷぽ౺ऑट༇રໞȯⳆқౘᯉ̳ⵣᆯ˟ሱӮ⳥ᮢ⣛ઈ͗ԡ̳᱿̳
‫ٴ‬ȯ˟ဏӷŊⳆᑂ᱿༆ᘍ⢌Ễᆯ㄄౑ߔザ᱿Ŋ̟߱Ⳇᕀᆹ⿵⡹˟ʬણ∳ӷ㄄౑घቺ⣫ȯ˟ʃ‫ף܈‬ᆯ↘ᯉᮝ᧎Ŋⴒሷଧ㋤ᔬ㋒Ŋశቃ⤐≛‫˫ר‬ഺⳆˀᯉʑ฾‫ט‬ӷơᮝ‫ل‬Ƣ᱿า∑ȯଭᅠ ULTRA ᱿Ңʑᯉ̳ơBlackńBlueƢŊᆯ Tsuchigahata Ⰲ߱‫⸆׆‬ʀᆹŊ᳖⣲❴❶߱␕ቕʀ࿮┮␕✭Ŋʠര໽↘ӛ᱿̳‫ٴ‬ȯ˟ဏӷŊ໣⥓Ⳇᇓ⏨‫ף‬ᆯϵᤋⳢ⣲Ŋ̟˟ᱹ᫠❴❶࿮✭Ȯㆺ⎞ᆑ⟑࿙⎞␕⁆ŊⳆᑂ᱿ଶଶ〦͸ഺ‫ⵣ˚⎏מ‬ɺ᳅એ߱᱿Ŋ˟଀ᄪ᱿ଔᆯⳆʊ᮹᱿ञ⎊ᤋट‫ل‬ȯ
dpi : Could you talk about one of the art works shows in ULTRA? What inspired you to draw this work?
What’s the concept of this work?
Tsuchigahata :“Black&Blue”When I had lay about the fi elds, I found a butterfl y consumed nectar
from fl owers. This scenery might be unintentional, but I found that their relationships are continuingsince ancient times, butterfl ies visit fl owers for nectar, wind- and insect-pollinated to fl owers, they
may progress through multiple stages.I respect these natural providence in the world
dpi : It seems you like to draw creatures. why? do you have any story on it?
Tsuchigahata : One day, I accidentally encountered the carcass of crow was swarmed over bynumerous ants at the side of the road. Then I realized if creatures except human being would passaway, their life might be passed to the next life. This phenomenal fact is really beautiful for me. I may
not paint just creature but carcass, but I wonder if the viewer could catch the feeling "LIFE" throughmy works.
dpi : Which one of the illustration is your favorite? Or which one made you spent the most of timeand effort? What message you would like to convey through this work??
Tsuchigahata : My favorite work is “Bird”. I painted this work while looking a carcass of crow. I spent
a lot of time and effort for making, is “甘芭蕉”.I started to make this in winter, but it was fi nished up
in the end of summer in next year. Both were made by around the fi rst I started to use stockings. It
was hard to make it, but I learned a lot in this period. I would like viewer to feel and reconsider themeaning of “life” through these works.

藉由作品與觀者的溝通
Tsuchigahata 藉由他的作品與觀者溝通。他說：「在這紛擾的現代世界中，人們對於忙碌的人生或許備感壓力。但我希望自己的作品可以間接提醒他們心中存在的富有或是一些重要的事情。反而，如果只有我一人存在於這世界，或是這世界沒了壓力，也沒有哀傷（當然，這已經是天堂了），那或許就不需要我繪畫了。ȶ

dpi : What is your philosophy in your art world?
Tsuchigahata : I simply want to communicate to viewers through my works.
As trouble with the modern world, people might be really feeling the stressin their busy life. I suppose I would be grateful if my works could implicitly
remind them a sort of the riches of the mind or something important things.
Instead, If I would be alone in this world, or If this world would be no stressand no sadness (of course, it must be made in heaven!), I may not paint atall.
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03. Black & Blueȭ
116.7 ć 116.7 cmōJapanese paperȮmineral colorȮpigmentȮInkȮpencilȮstockingȮstringō200504. ᮙ␑◗ȭ
181.8 ć 227.3 cmōJapanese paper, mineral color, pigmentȮAcrylicȮcolorantȮStockingȮIncō2004
05. Creature 07
97.0 ć 162.0 cmōJapanese paper, Stockingō2009
06. Birdȭ
227.3 ć 181.3 cmōJapanese paperȮmineral colorȮpigmentȮStockingȮStringō2004
07. Creature 01
53.0 ć 45.5 cmōJapanese paper, Stockingō2009106

2009 | dpi

dpi | 2009107

ABSTRACT ART

ABSTRACT ART

殘骸下的生命輪迴 │Daisuke Tsuchigahataདྷ⩽♊⠛襪子的繪畫當 Tsuchigahata 還是中學學生時，他熱愛學校美術教科書上 JacksonPollack 的作品。自從畢業後，他一開始的作品風格就像 Pollack 常常使用的液體塗色，混合黑色壓克力與洗滌劑，然後繪畫形體。而他的風格是開始運用
襪子來創作時所形成的，當時 Tsuchigahata 對於媒材、織品與黑色特別有興趣。當時他的教授 Keijiro Okamura（是日本知名畫家之一）看見了他的創作想法，還會心一笑。他自己也很喜歡這樣的創作手法，所以就一直延續至今。
媒材使用上有日本畫紙（和紙）、襪子與礦物顏料。他會在日本畫紙上用襪子
的抽絲或裂口來製作形體，構造形成後會使用礦物顏料上色。他提到，顏色和襪子會形成鮮明的對比，而日本畫紙是一種強韌且漂亮的紙張，也因為礦物顏
料是天然的成分，更能使彼此相互平衡、融合。
dpi : When did your current style begin? How did you set up your current art style? Has any art
period or art style ever influenced your works?
Tsuchigahata : When I was a junior high-school student, was fascinated with the works by
Jackson Pollack on school textbook. I started to paint seriously since graduated high school,but the images of this work was strongly remained in my mind, I used to make works by liquid
paint style what Pollack made many works; I blended black acrylic into some lotion, thenpainted some figure.
Maybe it just happened that I have begun using stocking for making works. If I must say
something about that, I became very attracted to it's material, stretch fabric and black. WhenI was painting on Japanese paper with put some stocking, my professor (Mr. Keijiro Okamura-he is very famous painter in Japan) had just happened to walk by, he chuckled at this idea. I
also like this way, so I started to make my works by this style.
dpi : When did your current style begin? How did you set up your current art style? Has any art
period or art style ever influenced your works?
Tsuchigahata : When I was a junior high-school student, was fascinated with the works by
Jackson Pollack on school textbook. I started to paint seriously since graduated high school,but the images of this work was strongly remained in my mind, I used to make works by liquid
paint style what Pollack made many works; I blended black acrylic into some lotion, thenpainted some figure.
Maybe it just happened that I have begun using stocking for making works. If I must say
something about that, I became very attracted to it's material, stretch fabric and black. WhenI was painting on Japanese paper with put some stocking, my professor (Mr. Keijiro Okamura-he is very famous painter in Japan) had just happened to walk by, he chuckled at this idea. I
also like this way, so I started to make my works by this style.

08. Poison
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10121413

91.0 x 116.7 cm
Mixed media/2007

09. 実芭蕉
162.0 x 162.0 cm／Japanese paper, mineral color, pigment, Acrylic,foil, colorant, Japanese Ink, Stocking, Strings on block board／2004

10. Appearance
116.7 x 116.7cm／Japanese paper, mineral color, pigment,foil ,Stocking, Strings／2005

11. Shoe
24.3 x 33.4 cm／Japanese paper, Stocking,mineral color, pigment 2009

12. Creature03
45.5 x 53.0 cm／Japanese paper, Stocking 2009

13. Crime, Punishment, and a Cow
7 feet x 2 feet、50kg／Fiberglass、Stocking、String 2008

14. Looming朧
116.7 x 116.7cm／Japanese paper, mineral color, pigment, powder, colorant,Japanese Ink, Stocking, Strings ／2007

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2009 | dpiߧᦸഛЭ⫏ᅆ͗᜺᮫ Daisuke Tsuchigahata ဏͧȭ⪸˶ℶⱓŘኚ⸂ᇏȭ⇾⠛ℶⱓŘ೺එ♮dpi | 2009109