“afterimage”
by Mikito Ozeki | 尾関 幹人

4 April - 2 May 2014

2014年4月4日より、CLEAR EDITION & GALLERYでは3度目となる尾関幹人の個展を開催いたします。昨年頭にシンガポールで開催されたグループ展「TOKYO STREET」を皮切りに、9月には同じくシンガポールのIKKAN ART INTERNATIONALにて個展を開催し、国際的にも注目されつつある作家の新作展示となります。

「切り絵」という手法自体が注目されますが、常に尾関自身はその手法を客観的に捉え、可能性を模索しながら作品の制作を続けています。「0」と「1」の組み合わせのみで無限の表現を生むハードウェアの様に、自身を”afterimage”を出力するための装置としてとらえ、日々アップデートさせている尾関にとって切る行為は、オートマティスムの様な自動筆記とは異 なり、鍛錬の上に成り立つ身体表現ゆえ、常に進化をし精度を高め、新しい表現を求めるのです。

今回発表する作品では、切り絵が改めて3次元な表現行為であることを我々に伝え、絵の具では表現できない前後の重なり、視線の変化による表情の移り変わりに、さらに挑んだ作品群となります。切り絵の立体としての特性を強調しつつ、絵画として表現を残すことは何かという根源的な問題に立ち向かいます。

CLEAR EDITION & GALLERY is pleased to announce its 3rd solo show with Japanese artist, Mikito Ozeki. After his group show“TOKYO STREET“ and his solo exhibition at Ikkan Art International in Singapore, Ozeki’s international reputation has been continuously growing.

Often focus goes to Ozeki’s technique of paper cutting. However Ozeki himself has a much more objective stance towards this, and consistently seeks for new possibilities with his techniques through his works. Like a computer hardware that can produce numerous images with a basic programming based on“zero’s”and“one’s”, Ozeki considers himself as a machine to output his“afterimage”, updating it (himself) day by day. In contrast to automatism, Ozeki’s cutting procedures depend on a much more physical aspect and the movement of his entire body, which is a result of everyday discipline.

Ozeki’s newest works reminds us once more that paper cutting is a three dimensional expression With new challenges of the changing impression from the position the work is viewed from, he portrays a significantly different way of layers and depth compared to painting. With his cutting knife and paper, Ozeki confronts the question of what it means to leave tracks in a painting as well as the general meaning of the word itself.