ART LIVES TORIDE ここで芸術が生まれる。

島田 忠幸
Tadayuki Shimada

前は東京の下町でつくってて、取手に来たのは1991年。かみさんが取手出身なのよ。ちょうど藝大の取手校地ができて1、2年だったかな。最初は材料を仕入れるのに苦労したよね。東京にいたころは周りに町工場があったから、材料なんて電話したらぱっと入ったんだけどさ。ここはアルミ買うったって大変なわけよ。いろいろ調べて、付き合いもできて。今は楽になったけどね。

こっちに来てからすぐ、今の取手美術作家展、とりびをやってるメンバーと交流ができてさ。取手の関わりはけっこうありますよ。義理の息子もがんばって壁画とかやってるしね。アートプロジェクトで一緒になってさ、船つくったことがあったよね。

I used to work in downtown Tokyo and came to Toride in 1991. My wife is from Toride. It was one or two years after the Toride campus of the University of the Arts was established. At first, we had a hard time purchasing materials. When I was in Tokyo, there were many local factories around, so I could just call them and get materials quickly. But here, it was very difficult to buy aluminum. I had to do a lot of research and make relationships. It’s easier now, though.
After I came here, I got in touch with the members of ‘Toribi’, the current Toride Artists’ Exhibition. There is a lot of Toride involved. My son-in-law is also working hard on murals. We once worked together on an art project to build a boat.

未来派が提唱されて、そのなかでいろんな素材を使うべきだっていう考え方が出てきてね。それが非常に豊かでおもしろいと思ってさ。ありとあらゆる素材を使ったよね。木彫からはじめて、プラスチック、金属と。

27歳のころかな。点の仕事、線の仕事、面の仕事って順にやっていけば、もう少し彫刻が理解できるんじゃないかと思って、点に近い砂を扱いはじめたわけだよ。それが受けちゃってね。それまで彫刻をやってきて、表面ばっかりで内部は気になってなかったわけ。だけど砂の場合はさ、ほじくると、内部が表面になってくる。そうすると内部と表面が入れ替わる。そのころに、ずっと企画展やらせてもらう画廊なんかにも出会ったんだよね。

Futurism was proposed, and among them came the idea that we should use a variety of materials. I thought it was very rich and interesting. I used all kinds of materials. I started with wood carving, then plastic, then metal.
I think I was 27 years old. I thought that if I worked with dots, lines, and surfaces in that order, I would be able to understand sculpture a little better, so I started working with sand, which is similar to dots. That was a success. Until then, I had only worked on the surface of sculpture and had not paid attention to the inside. But in the case of sand, when I dig into it, the inside becomes the surface. In this way, the inside and the surface switch places. Around that time, I met an art gallery that allowed me to hold exhibitions all the time.

砂を軽くするために、中にアルミを使ったことがあってさ。金属に対しての興味も非常にあったんだよね。あんまりひとつのことにこだわらないからさ。そこから、今つくってる動物シリーズがはじまるわけよ。

アルミのメッキを剥がしてみたらさ、なんかキリンみたいな模様だなって思って。いろいろ実験しながら、キリンをつくってみたわけよ。首だけで2メートル40。そしたらあっという間に売れちゃって。お、やってみようって。そういうきっかけだよね。

I used aluminum inside to lighten the sand. I was also very interested in metals. I don’t stick to one thing too much. That’s how the animal series I’m making now started.
When I peeled off the aluminum plating, I thought the pattern looked like a giraffe. I experimented with various things and made a giraffe. The giraffe’s neck alone was 2 meters and 40 inches long, and it sold very quickly. I decided to give it a try. That’s how it all started.

シマウマの縞はね、色を塗ってるわけじゃないの。箔を使ってみたらきれいだったんだよ。磨けば感じが変わるしさ。アルミは素材としておもしろいんだよね。だけどさ、アルミを素材にした作品ってそう多くないんだよ。なぜかっていうと、アルミはなかなか難しいんで、学校ではあんまり教えない。

やってる人が少ないってことは、作家としては魅力だよね。溶接棒の使い方ひとつにしても、ちゃんと勉強しないときれいにできないわけだ。アルミを触っていくうちに、知らなかったことがたくさんわかるんだよな。そういうかたちで、技法にも魅了されてつくってるよね。

彫刻っていうのはね、迷っちゃいけないの。最初にこうつくると思ったら、傾いててもつくっちゃう。ああでもないこうでもないって迷うと、ろくなことがないから。がーっとつくちゃう。

The stripes on the zebras, I didn’t paint them with color. I tried using foil and found it beautiful. If you polish it, it looks different. Aluminum is an interesting material. However, there are not so many works using aluminum as a material. Because aluminum is quite difficult to work with, so schools don’t teach it very much.
The fact that so few people are doing it is an attraction for an artist. Even the usage of a welding rod cannot be done neatly without proper study. As you touch aluminum, you learn a lot of things you didn’t know before. In this way, I am fascinated by the technique of making sculptures.
In sculpture, you must not get lost. When I decide to make something like this, I make it. Even if it is tilted. If you get lost in the process of thinking about what is right and what is wrong, nothing good will come out of it. You end up making it all in a single sitting.

最初は床に絵を描いてね、針金で立体に起こして。それを頼りに金属を叩いていって。動物の写真を見ても、細かいところはわからないんだよね。でも骨格はわかるからさ。あとは表現だから。

今のところみんな、等身大でつくってるんだけどね。だからでかいのよ。これはテナガザルなんだけど、タイトルは「お手上げ」。そうやって、おもしろがってやってるんだけどさ。

At first, I drew a picture on the floor and made it into a three-dimensional object with a wire. Then, I used that as a guide to tap the metal. Even if you look at a picture of an animal, you can’t see the details, but you can see the skeleton. But I know the skeleton. The rest is expression.
At the moment, everyone is made life-size. That’s why they are so big. This one is of a gibbon, and the title is “Oteage” (I can’t help it)”. I’m doing it in a fun way.

ラクダのコブに蛇口をつけて、ひねるとワインがでてくるようにしたりさ。これはオオアリクイとコアリクイ。コアリクイは木の上で生活してるのよ。しっぽを巻きつけて。それぞれ工夫して生きてるんだよね。それがおもしろいなと思ってね。

哺乳類っていうのはさ、4800種類くらいいるんだよな。人間も哺乳類なんだけどさ。生き延びるために進化を続けていたわけなんだよね、どんどん。その進化の過程っていうのがすごいんだよね。1種類じゃおもしろくないわけだよ。アートシーンを追うことをやめて、別の価値観を追い求めているっていう感じだよな。

目標は100点。今41点くらいかな。まだまだ、あと60点くらいつくらないと。大変だよ。 アートっていうのはね、数がないと話にならないんだよ。いい作品がひとつできましたっていうんじゃ。数は力だよね。火が付けば世界中から買いに来るだろうからね。数がないとね。

I even made a camel with a faucet attached to its hump, so that when you turn it on, wine comes out of it. This is an anteater and a tamandua. Tamanduas live in trees. They wrap their tails around the trees. They all have their own ways of living. I thought that was interesting.
There are about 4,800 species of mammals. Humans are mammals, too. We have been evolving in order to survive, and the evolutionary process is amazing. The process of evolution is amazing, and it is not interesting to have only one kind of mammal. I have stopped following the art scene, and I am pursuing other values.
My goal is 100 pieces. Right now I have about 41. I still have to make about 60 more. It’s a lot of work. Art is nothing without the number of works. It is not enough to create one good work of art. Having a large number of works is an advantage. Once a work catches fire, people from all over the world will come to buy it.

いろんなところ行かせてもらったけど、2ヶ月もいるとね、どこの国も、ここに住むのもいいかもなって思うよね。グルジアでつくったときは、道具の扱い方がぜんぜん違うんだよ。羊を自分たちでさばいて食べるとかさ。そういう文化の差みたいなのはおもしろいよな。

今年は茨城と、新潟とあってね。発表の場が常に与えられているのは、作家としては嬉しいよね。

非公開の作品も上にあるけど、ちょっと見てく?

I have been to many places, but after two months in any country, I think it would be nice to live here. When I worked in Georgia, the way of handling tools was completely different. We had to cut and eat the sheep by ourselves. It is interesting to see such cultural differences.
This year, we had a show in Ibaraki and another in Niigata. As an artist, I am always happy to have a place to present my work.
There are some works that are not open to the public. Would you like to take a look?