写真を作品の中に登場させてみようと思うようになったきっかけが、カラーコピーの存在です。
印画紙の持つ深みや生々しさは私にとっては少々重過ぎ、アクションを加える余地が無いように感じていましたが、デジタル処理によって濾過され希釈されたカラーコピーには、そこを起点として新たにイメージを生成させていけるニュートラルな隙間が広がっているように感じられたのです。
当時のカラーコピー特有の予期できない色強調や省略、想定外のトリミングや部分拡大が施されるなど、撮影者の全く意図しない結果となることも多々ありました。それら予想外の結果も全て、私にとっては魅力でした。「撮影」という行為の記憶とは無関係に、マシンがスキャンした画像を黙々と紙に定着させ続けていくということが心地良かったのです。
そうした「コントロール外の要素」を含んだ画像を構図上のメインに据え、そこから触発されるまま、絵の具やインク、布、トレーシングペーパー、木材、アクリル樹脂などいくつかの素材を組み合わせて表現していきました。
当時、作品のコンセプトを明確に意識出来ていたわけではありません。記憶が削ぎ落されて生じたイメージの隙間に、新たなイメージを補っていくことだけを考えていました。隙間を計画的に作り出すということはしませんでした。
隙間だらけの画像が、意外性を伴った偶然の産物として目の前に現れるまで、カラーコピーを繰り返しました。
印画紙の持つ深みや生々しさは私にとっては少々重過ぎ、アクションを加える余地が無いように感じていましたが、デジタル処理によって濾過され希釈されたカラーコピーには、そこを起点として新たにイメージを生成させていけるニュートラルな隙間が広がっているように感じられたのです。
当時のカラーコピー特有の予期できない色強調や省略、想定外のトリミングや部分拡大が施されるなど、撮影者の全く意図しない結果となることも多々ありました。それら予想外の結果も全て、私にとっては魅力でした。「撮影」という行為の記憶とは無関係に、マシンがスキャンした画像を黙々と紙に定着させ続けていくということが心地良かったのです。
そうした「コントロール外の要素」を含んだ画像を構図上のメインに据え、そこから触発されるまま、絵の具やインク、布、トレーシングペーパー、木材、アクリル樹脂などいくつかの素材を組み合わせて表現していきました。
当時、作品のコンセプトを明確に意識出来ていたわけではありません。記憶が削ぎ落されて生じたイメージの隙間に、新たなイメージを補っていくことだけを考えていました。隙間を計画的に作り出すということはしませんでした。
隙間だらけの画像が、意外性を伴った偶然の産物として目の前に現れるまで、カラーコピーを繰り返しました。
It was color photocopying that inspired me to try to bring photography into my work.
The depth and vividness of photographic paper was a little too heavy for me, and I felt there was no room for action, but the color copy, filtered and diluted by digital processing, seemed to have a neutral space where I could create new images starting from. The color copies of those days had unexpected colors that were unique to color copying.
There were many cases in which the photographer did not intend to produce the results that he or she did, such as unexpected color enhancement or omission, unexpected cropping, or partial enlargement, which were characteristic of color photocopying at that time. These unexpected results were all fascinating to me. I was comfortable with the fact that the machine silently continued to fix the scanned images on paper, regardless of my memory of the act of "shooting".
I placed such images containing “out-of-control elements” as the main compositional elements, and as inspired by them, I combined several materials such as paint, ink, fabric, tracing paper, wood, and acrylic resin to express my ideas.
At the time, I did not have a clear concept of the work in mind. I was only thinking about filling in the gaps between the images that had been created by the removal of memories with new images. I did not systematically create the gaps.
I repeated the color photocopying process until an image full of gaps appeared before my eyes as an unexpected and fortuitous product.
The depth and vividness of photographic paper was a little too heavy for me, and I felt there was no room for action, but the color copy, filtered and diluted by digital processing, seemed to have a neutral space where I could create new images starting from. The color copies of those days had unexpected colors that were unique to color copying.
There were many cases in which the photographer did not intend to produce the results that he or she did, such as unexpected color enhancement or omission, unexpected cropping, or partial enlargement, which were characteristic of color photocopying at that time. These unexpected results were all fascinating to me. I was comfortable with the fact that the machine silently continued to fix the scanned images on paper, regardless of my memory of the act of "shooting".
I placed such images containing “out-of-control elements” as the main compositional elements, and as inspired by them, I combined several materials such as paint, ink, fabric, tracing paper, wood, and acrylic resin to express my ideas.
At the time, I did not have a clear concept of the work in mind. I was only thinking about filling in the gaps between the images that had been created by the removal of memories with new images. I did not systematically create the gaps.
I repeated the color photocopying process until an image full of gaps appeared before my eyes as an unexpected and fortuitous product.
Summertime "Yellow"
サマータイム「イエロー」
Color copy on polyester film, wood, wax, adhesive, acrylic resin, metal
515㎜×354㎜
© 1994 KAZUMICHI OTSUBO
One summer's day
ある夏の日
Color copy, wood, cotton cloth, gel medium, acrylic paint, tracing paper
1620㎜×920㎜×3
© 1994 KAZUMICHI OTSUBO
Illuminated memory
照らされた記憶
Color copy on polyester film, wood, adhesive, acrylic resin, metal,Fluorescent lamp
？㎜×？㎜
© 1994 KAZUMICHI OTSUBO
"Time"
「時」
Color copy, acrylic paint, wood, adhesive, acrylic resin, metal
1120㎜×1420㎜
© 1994 KAZUMICHI OTSUBO
Exhibition view
展示風景
© 1994 KAZUMICHI OTSUBO
Wall
壁
Color copy, cotton cloth, gel medium, acrylic paint, Baseless double-sided tape
1260㎜×1600㎜
© 1994 KAZUMICHI OTSUBO
Abandoned Sewing Machine ~ Abandoned Art
捨てられたミシン～捨てられた芸術
Color copy, B/W copy, mending tape, aluminum, brass, wood
1300㎜×1000㎜
© 1991 KAZUMICHI OTSUBO
Sticking to the back side
裏側にこびりつくもの
Color copy, B/W copy, gel medium, wood
1456㎜×3612㎜
© 1991 KAZUMICHI OTSUBO
Things standing on the back side
裏側に聳え立つもの
Color copy, B/W copy, mending tape, aluminum, wood
2170㎜×1530㎜
© 1991 KAZUMICHI OTSUBO
Things lying on the back side
裏側に横たわるもの
Color copy, mending tape, aluminum, wood
2170㎜×1530㎜
© 1991 KAZUMICHI OTSUBO
Silent threatening things
黙って威嚇するもの
Color copy, B/W copy, mending tape, aluminum, wood
765㎜×2170㎜
© 1991 KAZUMICHI OTSUBO
Exhibition view
展示風景
© 1991 KAZUMICHI OTSUBO
Wall
壁
Color copy, cotton cloth, gel medium, acrylic paint, metal
1260㎜×2530㎜
© 1991 KAZUMICHI OTSUBO
Back wall
裏壁
Color copy, cotton cloth, gel medium, acrylic paint, metal
1740㎜×1250㎜×2
© 1991 KAZUMICHI OTSUBO
Dermatology of the city
都市の皮膚学
Color copy, B/W copy
257㎜×182㎜, each
© 1991 KAZUMICHI OTSUBO
Strange distance
奇妙な距離
Color copy, wood, Styrofoam, Japanese paper, gel medium, modeling paste, acrylic paint
2170㎜×2300㎜
© 1992 KAZUMICHI OTSUBO
Wall and girl
壁と少女
Color copy, wood, gel medium, modeling paste, acrylic paint
841㎜ x 1189㎜
© 1992 KAZUMICHI OTSUBO
Simultaneous progress ~ destruction and construction
同時進行～破壊と構築
Color copy, wood, gel medium, tracing paper, acrylic paint
1456㎜ x 1030㎜
© 1992 KAZUMICHI OTSUBO
Things living between destruction and construction
破壊と構築の間に生きるもの
Color copy, wood, gel medium, tracing paper, acrylic paint
1456㎜ x 1030㎜
© 1993 KAZUMICHI OTSUBO
Things that destroys and constructs
破壊して構築するもの
Color copy, wood, gel medium, tracing paper, acrylic paint
????㎜ x ????㎜
© 1993 KAZUMICHI OTSUBO
"time" '92-#1
「時」'92-#1
Color copy, wood, gel medium, tracing paper, acrylic paint
297㎜ x 420㎜
© 1992 KAZUMICHI OTSUBO
"time" '92-#2
「時」'92-#2
Color copy, wood, gel medium, tracing paper, acrylic paint
420㎜ x 297㎜
© 1992 KAZUMICHI OTSUBO
"time" '92-#3
「時」'92-#3
Color copy, wood, gel medium, Japanese paper, tracing paper, acrylic paint
297㎜ x 420㎜
© 1992 KAZUMICHI OTSUBO
"time" '92-#4
「時」'92-#4
Color copy, wood, gel medium, tracing paper, acrylic paint
420㎜ x 297㎜
© 1992 KAZUMICHI OTSUBO
© 2018 KAZUMICHI OTSUBO
