(2019年武蔵野美術大学FAL「タシロサトミ展」より)

「タシロサトミの絵画」

 彼女の3年在籍時の課題作品が印象に残っている。それは、モノトーンの作品であったが、私にはその白がとても美しく感じられた。そこには勿論、黒の調子や線などのリズムが響きあってのことだったと思うが、そこには彼女の感性がとても瑞々しく感じられた。

 その後の卒業制作では、現在のモチーフに繋がっている衣服を題材にしていた記憶がある。卒業制作に選んだ画面は細長く、画面を構築するマチエールにも変化を持たせていた。現在でも見られるステッチやファスナーのリズムは画面に刻まれていたように記憶する。その時はまだ色数も少なく、白黒を基調とした詩情を感じさせる画面であった。多少の不安を抱えながらも、破綻を恐れずに出来る事を模索していた。(本展前に、本人に確認したことだが、今の作品につながる別傾向の制作を同時にしていたようだ。)

 卒業後の初個展では「絵画とは?」といった肩苦しさからも解放されていた。矩形の角は丸みを帯び、色彩はやや不透明な中間色と鮮やかな色面が軽やかに構成され、フラットな背景に部分的に量感を持った絵具層が地と図の対比を成して現れた。物としての存在感を強くし、変形させた支持体は彼女の表現を支えていた。一皮剥けた印象をこの時に感じた。絵画は常に物質性を伴うが、物質的な要素の強さは何処かで絵画の不思議さの足を引っ張ってしまうこともある。物質であっても物質だけには感じられないことが絵画の本質的な魅力である。そんな事を彼女の仕事を見る度に、絵画と物質の境目が何なのかという問いかけが私の中に起こってくる。

 だが、タシロの作品は物としての魅力も併せ持っており、支持体の形態抜きには作品の面白さも半減してしまうだろう。だとすれば、彼女の作品は絵画という枠だけに押し込んで考えていては、居心地がわるいかもしれない。彼女の気に入った支持体に自由自在に関係を構築させることがタシロサトミの世界観であり持ち味なのだ。そして、何よりも彼女の仕事は発展途上の過程にあり、どの様に変化して行くかはまだまだ未知数だ。だからこそ、これまでの積み重ねの上に安住する事なく、果敢に挑戦して行く姿勢を見たいのである。

2019年7月
武蔵野美術大学通信教育課程
吉川民仁



The Paintings of TASHIRO satomi

Her work during her three years as a student left an impression on me. The works were monotone,but to me the white was really beautiful. Of course,I think it was the way that it resonated with the rhythm of the black tones and lines,but it gave me a sense of the very fresh and vibrant nature of her sensibility. I remember that in her later graduation work,she used as a theme clothing that is connected to her current motif. The canvasses she chose for her graduation work were long and there were changes in the materials used to make the canvasses. I remember how the rhythm of the stitches and fasteners that can still be seen in her work today seemed as if they were engraved on the canvas. At the time she still used only a small number of colors,and the canvasses evoked a poetic sentiment based on black and white. Even while it made her nervous to some degree,she was in search of something that she could do without fear of failure. (As I confirmed with her before this exhibition,she was at the same time producing work in a different direction,one that led to her latest work.)

In her first solo exhibition after graduation,she was freed from the stiff formality of “What is painting?” The corners of the rectangles were rounded,the composition was light,using slightly opaque neutral colors and brightly colored surfaces,and the partial paint layers with a sense of volume against the flat background created a contrast between the figure and the ground. It had a strong objective presence and the deformed support medium was the foundation for her expression. At the time,I got the impression of a layer peeling off.

A painting is always accompanied by a quality of being physical,but the strength of its material elements can somehow detract from the mystery of the painting. The innate appeal of a painting is that the material is not experienced simply as matter. Every time I see her work,it raises a question in me about what the boundary is between the painting and material.

However,TASHIRO’s works also have an appeal as objects,and what makes them interesting would be greatly diminished if we ignored their form. If we did so,thinking of her work as confined to the framework of a painting might be discomforting. Freely constructing a relationship with her favorite support material is the worldview of TASHIRO satomi and her characteristic style. And above all,her work is in a process of development,and nobody knows how it will change. That’s why,rather than settling for what she has accumulated to date,I want to see her attitude of boldly taking on new challenges.

July 2019 
Musashino Art University correspondence course 
YOSHIKAWA  tamihito