Bone Flower
Bone Flower
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My aim was light and transparent ceramics rather than the conventional dignified ceramics.
Ceramics able to absorb its surroundings and retain the special mood of its place. Ceramics able to be a warm boundary gently connecting, rather than separating, interior and exterior.従来のような荘重な陶芸ではなく軽やかで透明な陶芸。
周辺環境を引き込み、絶えず場所固有の空気を内包するものとして。
内と外を明確に分けるのではなく、
それらを優しく繋げていく温かな境界を持ったものとして。
My aim was light and transparent ceramics rather than the conventional dignified ceramics.
Ceramics able to absorb its surroundings and retain the special mood of its place. Ceramics able to be a warm boundary gently connecting, rather than separating, interior and exterior.
従来のような荘重な陶芸ではなく軽やかで透明な陶芸。
周辺環境を引き込み、絶えず場所固有の空気を内包するものとして。
内と外を明確に分けるのではなく、
それらを優しく繋げていく温かな境界を持ったものとして。
My aim was light and transparent ceramics rather than the conventional dignified ceramics.
Ceramics able to absorb its surroundings and retain the special mood of its place. Ceramics able to be a warm boundary gently connecting, rather than separating, interior and exterior.
従来のような荘重な陶芸ではなく軽やかで透明な陶芸。
周辺環境を引き込み、絶えず場所固有の空気を内包するものとして。
内と外を明確に分けるのではなく、
それらを優しく繋げていく温かな境界を持ったものとして。
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Bone Flower Notohiba
In the face of the workings of Mother Nature and natural phenomena beyond human understanding, primitive and ancient people must have been surprised, frightened, and moved repeatedly. And they sensed an “invisible power” there. That is “spirit” and “god”. Eventually, they worshiped “gods” to stabilize and maintain society, created “myths,” and developed their own rituals to interact with the gods. There are many “prayer vessels” such as Jomon pottery left behind by primitive and ancient people, and we modern people cannot even understand their meaning or how to use them. The Noto Peninsula earthquake on New Year’s Day 2024 caused severe damage to my home. Over time, I began to think deeply about the relationship between people and nature. I want to create a “prayer vessel” for the modern era. I want to dedicate that “prayer vessel” to my hometown. I was given “Noto Hiba”, a local material that Ishikawa Prefecture is proud of, which had to be discarded due to the earthquake, and I slowly dried them, polished them with sandpaper, colored them with lacquer, and glued them together. It is a fusion of Ishikawa’s traditional crafts and Bone Flower.
大自然の営み、人知では計り知れない自然現象を前に、原始・古代の人々は驚き、恐れ、感動を繰り返したに違いありません。そしてそこに「見えない力」を感じとったのです。それが「精霊」であり「神」です。やがて、彼らは社会の安定と維持のため「神」を祀り、「神話」を生み、神々と交歓する儀礼を独自に発達させていきました。原始・古代の人々が遺した縄文土器を始めとする「祈りの器」は、私たち現代人にはその意味や使い方すら理解できないものも多数存在します。 2024年元旦の能登半島地震は我が家に甚大な被害をもたらしました。時を経て、人と自然の関わり方を深く考えるようになりました。現代における「祈器」を創りたい。その「祈器」を故郷に捧げたい。地震によって廃棄せざるを得ない石川県が誇る県産材「能登ヒバ」を譲って頂いて、それらをゆっくり乾燥させて、ヤスリで磨き続けて、漆で着色し、接着。石川の伝統工芸とBone Flowerの融合です。
Player Vessel
Player Vessel
I created the public art, “Player Vessel,” which will be installed in the “Plaza of Light,” an outdoor space between the American and French pavilions at Expo 2025 Osaka, Kansai, Japan. The design evokes hands clasped together and the Earth, expressing prayers for recovery from the devastating 2024 Noto Peninsula earthquake. The 2.4m-tall, 2m-diameter, 3-ton public art installation is made up of 196 3mm-thick aluminum plates—the same number as the number of countries in the world—joined together in an incredibly sophisticated structural design. Bathed in abundant sunlight, the plates brilliantly reflect and resonate with each other, creating a fantastical moiré pattern that truly symbolizes the “Plaza of Light” and illuminates the future of the world.
2025年日本国際博覧会(大阪・関西万博)のアメリカ館とフランス館の間の屋外空間〈光の広場〉に配置されるパブリックアート「Player Vessel」を制作した。2024年に甚⼤な被害をもたらした能登半島地震の復興への祈りを込めて、「⼿と⼿を合わせる」、「地球」を想起させるデザイン。高さ2.4m、直径2m、重量3tのパブリックアートは、厚み3mmのアルミニウム金属板が世界の国数と同じ196枚、極めて高度な構造設計の中で接合されている。太陽の光をたっぷり浴びて、煌びやかに反射し、共鳴し合い、幻想的なモアレを創出して、まさに「光の広場」の象徴となって、明日の世界の未来を照らしている。
Bone Flower Luminous
Bone Flower Luminous was born from this artwork. The aluminum metal plate was polished repeatedly to give it a unique luster, and then the porous film created by the anodizing process was electrolyzed in an electrolyte containing metal salts, causing metals and metal compounds to precipitate in the pores of the film, resulting in electrolytic coloring, which enhanced its weather resistance. Adjacent metal pieces were tightly bound together, and ultimately, the work is structurally self-sustaining, with all of them supporting each other.
そのアートからBone Flower Luminousは生まれた。アルミニウム金属板に研磨加工を何度も行うことで独特な光沢を得たのちに、アルマイト処理（陽極酸化処理）で生成した多孔質皮膜に、金属塩を含む電解液中で電気分解を行い、皮膜の孔の中に金属や金属化合物を析出させて着色する、いわゆる電解着色を施し、対候性を高めた。隣り合う金属片を互いに緊結させ、最終的に全てが支え合うことで作品は構造的に自立している。
