The traditional fun of sculpture ⏤ Yasue Mae Takeshi, who re -represents the potential leisure of materials and forms with ny | Direction

In a city called Ridgewood in New York, far away from his home country, there are sculptors who are rooted in the local area, make their families, and continue their activities.

It was six years ago that I first visited Yasue Mae Takyue's studio.What jumped into my eyes was a large rattan work hanging from the ceiling.He asked, "What are you doing?" He said, "How to follow the gravity. I don't know if this work is independent on the ground."Hard welding machine on the floor.A delicate hand -handed Japanese paper on the wall.What other methods and materials do you use with the owner of the thinking circuit?He had no reason not to be interested as a Japanese living in the neighborhood.Since then, I watched, heard, and repeated.

This time, Mr. Taie will be held in a Corona whirlpool this spring, and has been very popular with a solo exhibition at the Microscope Gallery in New York, and the Arc de Triomphe in the Nihonbashi Mitsukoshi Contemporary Gallery this fall.I heard the story.

Exhibition scenery photo of "Transmutation" at the microscope gallery held this spring: Microscope Gallery, New York

The microscope gallery is famous for interdisciplinary activities, but it was very fresh because I watched an orthodox sculpture for the first time in this sharp place.How was Yasue himself?

The time of Corona was great.My work is tactile, so I can't tell it in photos, but there was nothing that was more powerful as "Transmutation".There were surprisingly many spectators despite the regulation of admission.In addition, I heard a lot of deep conversations and floors from the gallery directors, such as the director of the gallery, such as "that person was like this" and "this person is like this," instead of simply "likes" on SNS.The most many people who gave me impressions directly by email or telephone.

Everyone was hungry for such a thing, and I think it was a recoil of the time when I had to get a distance from people, but by watching the value of the real thing in the real thing, the opportunity to feel the person gained.I was happy to be able to make.

"Demonstration in the real thing".What happened specifically?

For example, the length of the audience staying.This time, I focused on a small and medium -sized work, so anyone could easily become a drone on my own, 360 degrees, and enjoy it from above and below.Many people have noticed the methods and materials that I have been using for many years, and when I watch it quickly, the appreciation time is long.I understand that the audience may automatically convey the concept that I was so loud.I was told that I could make it by confronting things without a shoulder twist, and I could relax more.

Microscope Gallery exhibition "The atmosphere of the representation IV (2019)" (center) height 58 x 33 x 34 cm Mikage stone, animal bone collection, brass, poly resin, terracotta photo provided by Microscope Gallery, New York

Not only this time, Mr. Tae uses various materials, but what do you like most?

It's sober, but it supports everything with the power under the edge of the iron (laughs).I can't do anything without this.The rest is the bone of the stuffed animal.The bones are stall bones that support the structure of the body, so they are easy to use.In fact, if you do not borrow metal power, you will not be independent as a work, but the concept of a formal "bone = structure" has been organized in yourself.However, because of the various reasons for the viewer, I also received the impression that "bones make death imagine death."

Speaking of independence, it is one way to hang the work from the ceiling.

Yes, it is configured by resisting gravity and hanging, and it is left to gravity and landed to end the production.Hanging acts are not about showing a gesture against gravity or living, but also a reconciliation or a truce agreement for the time being.The work made in this way is not a conceptual appearance, but a balance between the combination and form of the material, that is, the fun of traditional sculptures.

There are many traces of handicrafts, such as polishing, melting, and sticking, but what are your good work?

Polishing!I learned this technology at the Toyama Glass Research Institute, a school that is on a cloud away from the city.Anyway, I like to be shiny anyway, and my classmates called the "Queen of Polishing" (laughs) It takes time and it's troublesome, but it's interesting that the rusted metal changes with polishing.Yes, the Toyama Glass Institute of Laboratory celebrates its 30th anniversary this year, and a commemorative exhibition will start on October 23 at the Toyama Glass Museum, but I will also participate there.

In the newly established studio.It is one of Yasue's methods that hang the work during production from the ceiling.

For the theme created from the work that has been continued, such as "polishing and changing", especially this microscope, I will endure goats and strong winds with a work that made a original creature of shellfish and bones.It appeared as a bird on the cliff, and it changed to a new life form, and enjoyed the transformation.Does the Japanese feel more familiar with these themes as a general theory?

Aside from myself, Japanese creators repeatedly use life forms, reincarnation, and aminism in everywhere in popular culture, such as literature, animation, and movies. The word "aminism" is also used like a Japanese monopoly patent. However, in the first place, the earth is covered with aminism, and in the evolution of religion, it has been organized and become a monotheism, so it is originally a primitive religion and thought. "Let's worship the sun" and Greek mythology, where Poseidon or anthropomorphic gods come out. The current Shinto seems to be summarized in a rare way to sophisticated, rather than organizing the purity of this primitive thing as it is. It is said that there are shrines and priests. Even if you don't go there, when you are a child, your grandmother taught that "stones also have life." This is not in monotheism.

There is an interesting story.In the late 90's, when I was studying abroad in the Czech Republic, "Tamagotchi" was popular, but that's a game that raises life.So, a local scientist said, "This idea is impossible in the West.I heard later that it was popular here, so I thought it was just his perspective, but at that time I thought I was a Japanese.Because I could easily imagine this idea and might have made Tamagotchi.

surely.For Japanese, "everyone is a family of God".

For us, it's a real and imaginary world.It's not a cramped dimension such as "political collectorness", but a larger the earth.

When I came to New York and entered Colombia graduate school, I was a god, Shinto was doing it, and there were a lot of Marxist studies and the reaction (laughs) was that the theme was too spectacular.It doesn't fit in everyday life. It's not like postmodern. "So I've changed my hand so far, but in the first place, no one has the right to complete the magnificent theme with modernism, and it's not a problem that humans will be solved in the future.You came without changing the basic theme inside.

Which exhibition did you feel that you have been able to communicate with the audience in this city without changing the theme even if there is a recoil?

It was a solo exhibition at the 2017 Chimney Gallery that I felt that I was able to talk about the theme of Japan with Don Pisha.Good luck overlapped.Because the director was interested in the power hidden in aminism and material.

Exhibition scenery photo of the solo exhibition "Interradation of the Ground" at the 2017 Chimney Gallery: Chimney Gallery, New York

Conversely, do you mean that many people are not interested in that?

There are ten colors.Some say "Marxism", while others like New York trends and her breath.If I showed me to New Yorker with passion without hiding or repairing "Japan" in that way, "I see, it's a fresh perspective. Where is this idea? Oh, it contains a natural view of Japan.I was very happy that there was a reaction like Japanese.She succeeded in inviting her ideas that she had been carried over to the keyword "Japan", but in a natural order.

He is currently participating in a group exhibition at Toraberkka, Man Hattan, but the time in New York, the first art fair, "Freeze", which will be held for the first time this year, will be a prime.

Yeah, the curator is Griffin Lou, Vice Chairman of the Calder Foundation, and is a creator who also produces sound. It's very exciting to be together, and recently a large art space called a drone is set up, which is a drop of fake. The title is "THE LOCATION OF SERENITY", and he is working on the "Eternal A magnificent theme" that he talked about, for example, quoting classical literature, Rilke and Frank Herbert. Still, the modern sense is outstanding, so it is an exhibition that can be said to be "eternal now". I have exhibited a life -size sculpture, along with the wonderful paintings and murals of Eddie Natal, which has been active in the Tatu Art Scene since the 70's, and I have been a life -sized sculpture, so I have been doing it until mid -July. Please come!

And from October 13, a solo exhibition will start at the Nihonbashi Mitsukoshi Contemporary Gallery.What kind of work can you show?

I plan to use small and medium -sized works with wood imitating brass instruments, and use hand -made Japanese paper flat reliefs, video works, etc. that soak metal corrosion, and I wonder if the title will be a music term.。I'm not the emotional thing that the melody floats during the production, but I am interested in phenomenology and the operation itself in common with sound and objects.I don't enter any exhibitions from romantic concepts and stories (laughs). The exhibition uses spatiality to consider a sharp and sharpened composition.

What kind of conversation has you ever had with Japanese customers?

I have never talked to Japanese audiences, but when I talk to Japanese artists and researchers in New York, I often say that they are not like Japanese.

eh! why?

I don't think there are many Japanese artists who are always conscious of being Japanese, but that's because of post -war contemporary art education."" I'm not anyone. I shouldn't be there. "It will be configured.Moreover, both are "Japan that foreign countries are expecting", so they are unconscious or do to respond to them.But who will be happy when you do that?What?Ironically, it is overseas people who are not involved in Japanese art that is sensitive to my aesthetics in my work.

It seems that it is no longer a problem limited to contemporary art ...

Conversely, the Japanese who are studying art history with their feet on Japan are a little different.When I talked to one of my friends, I was represented by Yoshiyoshi Mukai, who was in the same time as the mono -sang, about the "relationship with Japanese monsters" in the review article of my caroscope in Artasia Pacific Magazine.He said "abstract sculpture by iron!"Mukai's masterpiece "Ants no Castle (1962)" is like a mysterious creature that appears in the science fiction, and is a work that exceeds the time when warm and inorganic lives together.

I see~.It is interesting~!

Nakahara Yusuke, an art critic, said, "Because of the fact that it is processed and extracted as" iron "by nature, iron sculptures inevitably appear, one is a symbol of natural power, and the other is the other symbol of nature."Ta", but the trends around here have not yet been noticed in the United States, and there is not enough research in Japan.The story was disappointed, but this interesting thing is that you can think of "Japanese".Is that really the case that the person says?Who decides where and how?What?There is a lot to do in the future.

A new discovery with a microscope and a solid response in Chimney.Apparently, it seems that there is still an unknown reaction in Japan.

This is the first time that Japanese people in Japan have seen a right solo exhibition, and I dare to make the head white.I can't expect it and I don't want to (laughs).

looking forward to it!

With Yasue -san's edge, with her husband David and her daughter Ai -chan

- Mae Takyuee　

Born in Tokyo in 1973. He learned glass crafts in Japan and the Czech Republic and moved to New York. In 2006, she acquired an art master's degree at Colombia University. He publishes works in the United States and abroad, and has stored his work in various public and private collections. The main exhibits are the 10th SONSBEEK, FONS WELTERS Gallery (Amsterdam, the Netherlands), ESPACIO 1414, The Berezdivin Collection (Sun Hoan, Puerto Rico), Queens Museum, (Queens, New York), Friedric Snitzer (Friedric Snitzer) Miami, Florida), Microscope gallery, etc. He also performed residency at Ghana's EL ANATSUI Studio in the Overseas Dispatching System of the Agency for Cultural Affairs, and participated in the 58th Venice Biennale Exhibition. In October this year, his first solo exhibition in Japan will be held at the Mitsukoshi Contemporary Gallery. She has been featured in major media, such as Artasia Pacific, ArtForum, and The New York Times, and has been introduced in ARTSY as 20 innovative female sculptors in recent years. She is currently working in a New York studio. She is a part -time professor at Plat Instate and a visiting professor at Pennsylvania Art University.

- Naoko Hayashi (Hayashi Hoko) Born in Tokyo.She is involved in writers, photo editors, shooting coordinators, and advertising production in New York.She was in 1997 and she was independent.She is currently working on art -related activities based on Brooklyn's Bushwick.Instagram: @14cube