mayumienoki.com - 榎　真弓 - Sheaf and Stalk, Grant Exhibition, Zuiunan, Kyoto

Grant Exhibition, Mayumi Enoki / Tomoko Takemasa Exhibition

20 April 2019 - 19 May 2019

Zuiunan, Nishieda Foundation, Kyoto, Japan

The Exhibition Link

https://www.n-foundation.or.jp/exhibitions/2019-i-am-remembering-why-we-are-thinking-about-it

Sheaf and Stalk #4, 2015-2019 (detail)

Photo ©︎Tadasu Yamamoto

Exhibition view, the Doma earthen floor entrance of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019

right) Sheaf and Stalk #4, 2015-2019, Japanese washi paper, Japanese sumi ink, oil, Japanese gohun ground clamshell chalk, iron, glass, mixed media, 198x98x54 cm

Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (Hiroshima Portrait), 2019, photopolymer gravure, oil, mixed media on Japanese washi paper, iron frame, wooden board, 114 x 147.5 x 3.5 cm

left) Sheaf and Stalk #5, 2019, photopolymer gravure, oil, mixed media on Japanese washi paper, 99x69x2 cm

right) Sheaf and Stalk #3, 2019, photopolymer gravure, oil, mixed media on Japanese washi paper, 101x74x2 cm

Photo ©︎Tadasu Yamamoto

left) As for g, and #5, 2019, monotype print, Japanese sumi ink, Japanese washi paper, mixed media, Japanese chitsu binding folder, 37x108x13 cm (opened), 37x28x13 cm(closed)

right) Sheaf and Stalk #7, 2019, photopolymer gravure, oil on Japanese washi paper, mixed media, 99x67x2 cm

Photo ©︎Tadasu Yamamoto

多層的な世界観。

新しく制作したものだけではなく、これまでわたしの作品に登場したもの、

あるいは使わずに保管していたものも溶け込ませてみる。

その時に作ったものを、いまというプラットフォームで俯瞰してみる。

別様の出来事へ拡張する。

作品にもうひとつの層を重ねる。

そのことで未来との呼吸を整え、生きることの文脈を編集する。

揺らぐリアルをこの手で確かめながら。

手探りは時にさみしく、

さみしくなればなるほど透明感を増していく。

A multi-layered view of the world,

I try to blend not only new things but also things that have appeared in my work or have been kept unused.

I have an overview of a piece of work made at that time, at a platform called the present.

They extend to a different event; another layer is piled up in work.

By doing so, we adjust our breath with the future and edit the context of living,

While checking the reality in our shaking hands.

The feeling is sometimes lonely,

And the more isolated it becomes, the more transparent it gets.

Exhibition view, the Doma earthen floor entrance of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎ Tadasu Yamamoto

Water Mummy-N's Heart, 2002, petri dish, polyurethane, mixed media, φ30x7 cm, Photo ©︎ Tadasu Yamamoto

The boundary between here and there gradually fades away,

This world and another world, or you and me, they and us, which has meaning as a gap, in between.

It produces various relationships and remains as a particle of the universe.

All things around us that have a form will disappear someday.

They will have been cast off from this place.

The things that have been cast off will leave behind certain clues.

This sense of boundaries or in between has awakened Hiroshima Portraits as my background,

And leads to an idea of stacking and layering lots of paper.

front) Sheaf and Stalk (with Seeds), 2017-2019, photopolymer gravure, oil on Japanese washi paper, mixed media, Japanese chitsu binding folder, 110x256x5 cm (opened), 110x80x8 cm (closed)

front right) Sheaf and Stalk (A Ball in My Head), 2019, photopolymer gravure, oil on Taiwan paper, string, 140x75x8 cm

Photo ©︎Tadasu Yamamoto

upper) Doe's Voice ver.2, 2013, photopolymer gravure on paper, 76x57 cm (paper size)

bottom) Untitled, 2019, paper and oil, 58x80x5 cm

Photo ©︎Tadasu Yamamoto

Stalk #3, 2019, iron and oil, 20x55x6 cm, Photo ©︎Tadasu Yamamoto

Untitled, 2019, ceramic, 13x10x5 cm, Photo ©︎Tadasu Yamamoto

Untitled, 2019, paper and oil, 58x80x5cm, Photo ©︎Tadasu Yamamoto

The images of photographic memorials don't represent any single past, and, preferably, they express polyphony to me.

The encounter is once and once only, but they accumulate and this forms one universe in the end.

Stacking and layering, however, do not necessarily have temporal consistency, and they are mixed before and after.

It seems like an image of a stalk, which penetrates many layers: Sheaf and stalk. Everything in life is connected and is in the little things.

Sheaf and Stalk (Garden) , 2019 (detail)

Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (for Zuiun-An), 2019 (detail)

Photo ©︎Tadasu Yamamoto

As for g, and #5, 2018 (detail), Photo ©︎Tadasu Yamamoto

Sheaf and Stalk #7, 2019 (detail), Photo ©︎Tadasu Yamamoto

Exhibition view, the Tatami passage of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (Garden) , 2019 (detail), Photo ©︎Tadasu Yamamoto

front) Sheaf and Stalk (for Zuiun-An), 2019, monotype print, oil, Japanese washi paper, mixed media, Japanese chitsu binding folder, 38x86x4.7 cm (opened), 28x28.7x 6 cm (closed)

Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (for Zuiun-An), 2019, monotype print, oil, Japanese washi paper, mixed media, Japanese chitsu binding folder, 38x86x4.7 cm (opened), 28x28.7x 6 cm (closed), Photo ©︎Tadasu Yamamoto

Exhibition view, Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎Tadasu Yamamoto

Scrunch (Bear) #11,2019, masking tape, acrylic, mixed media, Photo ©︎Tadasu Yamamoto

Exhibition view from the garden of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019

Sheaf and Stalk (Garden) , 2019 (detail)

Sheaf and Stalk (Garden) , 2019, acrylic box, glass, Japanese washi paper, plastic bag, mixed media, variable size

All things have both a front and a back, and visible and invisible, and positive and negative, they switch, shift and overturn.

Life and death always exist right beside us.

After the wind blows our everyday life, still, some kind of collage is left.

We always live on both sides of the world, therefore, we're reminded of feelings of the transience of life and a sense of wistfulness.

The world consists of the residue of the wind.

upper) Michael (Hiroshima Portrait), 2013, photopolymer gravure on paper, 76x57 cm (paper size)

bottom) Untitled, 2019, ceramic, 6x13x4.5 cm

Untitled, 2019 (detail)

Exhibition view, the the place in a tea- ceremony of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019

Sheaf and Stalk (Rusted), 2019 (detail)

Untitled, 2019 (detail)

Sheaf and Stalk (Rusted), 2019, iron and oil, 35x90x10.5 cm, Photo ©︎ Tadasu Yamamoto

Untitled (Chigi) ,2002, iron, 92x92x183 cm, Photo ©️Tadasu Yamamoto

Untitled, 2019, iron, paper, oil, mixed media, 80x60x60 cm, Photo ©︎Tadasu Yamamoto

Exhibition view, the spacious Japanese style hall of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019

Exhibition view, the Doma earthen floor entrance of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎ Tadasu Yamamoto

Water Mummy-N's Heart, 2002, petri dish, polyurethane, mixed media, φ30x7 cm, Photo ©︎ Tadasu Yamamoto

Stalk #3, 2019, iron and oil, 20x55x6 cm, Photo ©︎Tadasu Yamamoto

Untitled, 2019, ceramic, 13x10x5 cm, Photo ©︎Tadasu Yamamoto

Untitled, 2019, paper and oil, 58x80x5cm, Photo ©︎Tadasu Yamamoto

As for g, and #5, 2018 (detail), Photo ©︎Tadasu Yamamoto

Sheaf and Stalk #7, 2019 (detail), Photo ©︎Tadasu Yamamoto

Exhibition view, the Tatami passage of Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (Garden) , 2019 (detail), Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (for Zuiun-An), 2019, monotype print, oil, Japanese washi paper, mixed media, Japanese chitsu binding folder, 38x86x4.7 cm (opened), 28x28.7x 6 cm (closed), Photo ©︎Tadasu Yamamoto

Exhibition view, Zuiun-an, Kyoto, Japan, 20th April - 19th May 2019, Photo ©︎Tadasu Yamamoto

Scrunch (Bear) #11,2019, masking tape, acrylic, mixed media, Photo ©︎Tadasu Yamamoto

Sheaf and Stalk (Rusted), 2019, iron and oil, 35x90x10.5 cm, Photo ©︎ Tadasu Yamamoto

Untitled (Chigi) ,2002, iron, 92x92x183 cm, Photo ©️Tadasu Yamamoto

Untitled, 2019, iron, paper, oil, mixed media, 80x60x60 cm, Photo ©︎Tadasu Yamamoto

You may also like