Fumiaki Aono

仙台市に在住して美術活動をしている青野と申します。10数年前から、様々な場所から様々な欠片を拾い、「なおす」というキーワードで、その欠片の補完作業を行なってきています。通常美術と言えば「つくる」活動が主ですが、「なおす」といういとなみから、もっと別な新しい創造性を導き出そうと考えてきました。

Hello, my name is Fumiaki Aono, and I am an artist in Sendai City.

In the past several years, I have begun to pick up the fragments of broken things from various places, and in line with the Japanese word “naosu” – which encompasses concepts of both healing and repairing, as well as putting back into place and transforming – have begun to recreate these broken things by combining them with other items to compensate for their lost properties.

When we think of the common way of going about creating art, we largely think of making things. However, by approaching art through the concept of “naosu”, we have started to think about deriving new forms of creativity.

1_aono_1997一番目の写真は、小さなプラ容器欠片の復元。

The first photograph shows the restoration of a small plastic container.

2_aono_19982番目は廃船の復元です。船の後ろ部分が本物の欠片で、そこから前方にのばして復元してあります。
なおす作業は、けっしてもとのとおりに復元されるわけではありませんし、そもそも完全な復元は不可能です。

復元にはつねに当事者の解釈や想い、時間、 様々な制約が大きく作用してきます。

逆にそのようないわゆる当事者意識をより肯定的に踏まえることによって、一度破棄されたものが、かえってまったく新しい装いで立ちあがり、「今、ここ」の新鮮な生命力を取り戻すことができるのではないでしょうか。
欠片補完におけるなおす作業の材料となる素材は、もともとの欠片の材質とは別な、身近な合板や紙、石こう、セメントなどで代用されます。

近年ではさらに 身近な日常品である箪笥や机や箱などを、そのまま代用素材として流用するようなことも同時並行的に行なっています。

The second shows the restoration of a damaged ship

The back of the ship is the part that was salvaged, so the restoration involves extending the front part of the ship.

The term “reconstruction work” shouldn’t be taken to imply that the article can be restored to its original state.

From the start, it must be recognized that this is not possible.

Reconstruction is always affected by various conditions and constraints, such as time and the feelings and interpretations of the related parties.

But rather than being limited by these conditions, the objects that were at one time discarded can be more positively affected by the so-called “sense of ownership” of those performing the reconstruction. They are transformed into a completely new form, and are refreshed by the vitality of the here-and-now.

The raw materials used in the reconstruction have different material properties than the original fragments. The original material is replaced with materials we have on hand like plywood, paper, plaster and cement.

Furthermore, in recent years we have seen the parallel trend of everyday items like chests-of-drawers, desks, boxes, and so on being almost appropriated in their unaltered states as substitute materials for reconstructions.

3_aono_20053番目の写真は机を代用素材として赤い ポリ容器を復元しようとしています。
ところで、昨年の大震災後、自分の環境も一変してきました。
生活環境、制作環境ともに暴力的におびただしい被災瓦礫に覆われてしまいました。

ここで生き制作する人間として、この不快な現実から逃避することはほとんど不可能です。
震災後の作品ではではこの不可避な状況が不可避的に二重に反映されています。

In this third picture, a desk has been used as a substitute material to help reconstruct a red plastic container

After last year’s Tohoku Earthquake, we found our surroundings completely changed. Both our everyday surroundings and the environment of our artistic creation were swept away by the vast rubble of the disaster.

For artists living here, it is almost impossible to escape this unpleasant reality. The works that we have created since the disaster have inevitably become double-layered reflections of our unavoidable conditions.

4_aono_20054番目の写真は、津波にのみ込まれた宮古にある家内の実家の床表面を、テーブルに埋め込んだものです。机や箪笥という日常を形成している物品を代用素材として復元しようとしています。
震災によって突如日常が犯された様に、自分の制作環境も震災によって様々な障害で覆われました。例えばそれは、日ごろのフィールドワークの地帯が津波にのみ込まれてしまったことにより、震災瓦礫が不可避的に作品に持ち込まれざるを得ない状況になっています。

The fourth photograph is a picture of the floor of my wife’s parents’ house in Miyako, a town that was swallowed up in the tsunami, with a table embedded in it.

By using everyday items, like desks and wardrobes, as materials for making other things, we work towards reconstruction.

For everyone whose lives were turned upside down by the earthquake, the environment in which they created their art was also ripped away from them.

For example, because the area where we usually did our fieldwork was swallowed by the tsunami, we found ourselves in a state where we had no choice but to bring the rubble from the quake into our artworks.

5_aono5番目の写真は新作で、被災地・石巻で拾った廃船の欠片が、やはり日常の机や箪笥を代用素材として復元されようとしています。逆に見れば、テーブルには あえてコーヒーカップがのせられており、テーブルはあくまでもテーブルであり続けようとしていますが、半分以上、海から流れ込んだ様な船になりかわろうと しています。

現在の差し迫った状況から何が生まれるのか、どのように生きて行くべきか、自分の様な作家は、ただ毎日とりくむ制作の中でその指針を見出していくほかないように思えます。
この作品もその実践の試みの一つとして、7月から始まる仙台のギャラリーターンアラウンドにおける個展で発表する予定です。

The fifth photograph is of a new work made from a damaged ship from Ishinomaki, a city in the disaster zone. Here we see how in reshaping rubble into everyday items like furniture, we can work towards rebuilding our daily life from the damage.

But if you look at it another way, if you dare to put a coffee cup on the table, even though the table will continue to be a table, you will see that more than half of the table is actually a ship that had been swept away from the ocean.

What will be born out of the urgent conditions of the present? How should we continue to live our lives? For an artist like myself, it seems that there is no other way to find out the answers to these questions than by continuing to search for the indicators within the work we wrestle with on a daily basis.

I plan on announcing a one-man show of these works, as a trial run, to be exhibited at the Sendai Gallery Turnaround opening in July.

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