hikari no yama
縺イ縺九j縺ョ繧縺セ
2019
Noe ツAoki
髱呈惠驥取椌縺ョ驫迚育判繧キ繝ェ繝シ繧コ縲後イ縺九j縺ョ繧縺セ縲阪
2019蟷エ縲∽ク峨▽縺ョ鄒手。馴、ィシ磯聞蟠守恁鄒手。馴、ィ縲髴ァ蟲カ繧「繝シ繝医ョ譽ョ縲∝コ應クュ蟶らセ手。馴、ィシ峨↓縺ヲ縺昴l縺槭l迢ャ遶九@縺溷句ア輔′髢句ぎ縺輔l縺セ縺励◆縲
縺昴l縺槭l縺ョ鄒手。馴、ィ縺ョ遨コ髢薙ョ縺溘a縺ォ譁ー菴懊ョ蠖ォ蛻サ菴懷刀縺悟宛菴懊&繧後√◎縺励※谺。縺ョ鄒手。馴、ィ縺ァ蜷後§菴懷刀縺悟ア慕、コ縺輔l繧句エ蜷医b縺昴ョ遨コ髢薙↓繧医▲縺ヲ螟牙喧縺礼カ壹¢縺セ縺励◆縲
縲後イ縺九j縺ョ繧縺セ縲阪ッ縺昴l繧牙スォ蛻サ菴懷刀縺ョ迴セ蝨ィ繧偵ム繧、繝ャ繧ッ繝医↓謠上″蜃コ縺励◆繝峨Λ繧、繝昴う繝ウ繝茨シ穂ス懷刀縺ァ縺吶
縺昴ョ繝峨Ο繝シ繧、繝ウ繧ー縺ョ邇逶エ縺輔′鬲蜉帷噪縺ァ縺ゅk縺ィ縺ィ繧ゅ↓縲髑題ウ櫁縺ョ隕也せ繧隕区婿縺ォ繧医▲縺ヲ遨コ髢薙ョ隕九∴譁ケ繧繧ゅョ縺ョ蝨ィ繧頑婿縺悟、牙喧縺励髱呈惠縺ョ遶倶ス謎ス懷刀繧貞ケウ髱「縺ョ荳ュ縺ァ逍台シシ菴捺─縺吶k縺九ョ繧医≧縺ァ縺吶
蜈ュ闃ア莠ュ譛ュ蟷梧悽蠎励ぐ繝」繝ゥ繝ェ繝シ譟上↓縺ヲ2019蟷エ11譛医h繧企幕蛯ャ縺輔l縺滄搨譛ィ驥取椌螻輔後イ縺九j縺ョ繧縺セ縲阪↓縺ヲ逋コ陦ィ縺輔l縲∝コ應クュ蟶らセ手。馴、ィ縺ョ縲碁峇縺ィ驩縺ィ螻ア縺ィ縲榊ア輔〒繧ょア慕、コ縺輔l縺セ縺励◆縲
Plasmolysis
繝励Λ繧コ繝「繝ェ繧キ繧ケ
2015
Noe ツAoki
髱呈惠驥取椌縺ョ驫迚育判繧キ繝ェ繝シ繧コ縲 Plasmolysis縲搾シ医励Λ繧コ繝「繝ェ繧キ繧ケシ峨→譛ィ迚育判繧キ繝ェ繝シ繧コ縲梧。隨ヲ縲搾シ医→縺縺オシ峨
驫迚育判繧キ繝ェ繝シ繧コ縲 Plasmolysis縲阪ッ縲√き繝シ繝懊Λ繝ウ繝繝縺ィ縺縺謚豕輔r逕ィ縺縺溽ォ倶ス鍋噪縺ァ迚ゥ雉ェ諢溘ョ蠑キ縺菴懷刀縺ィ縲∽クサ縺ォ繧ィ繝繝√Φ繧ー縺ョ邱壹→繝医シ繝ウ縺ョ陦ィ迴セ縺ォ繧医k菴懷刀縺ォ蛻縺九l縺ヲ縺縺セ縺吶
繧ソ繧、繝医Ν縺ョ縲 Plasmolysis縲搾シ医励Λ繧コ繝「繝ェ繧キ繧ケシ峨ッ縲悟次蠖「雉ェ蛻髮「縲阪→縺縺諢丞袖縺ァ縺吶らォ倶ス謎ス懷刀縺ァ蛻カ菴懊&繧後※縺繧九悟次蠖「雉ェ (Protoplasm)縲阪す繝ェ繝シ繧コ縺ィ縺ョ髢「騾」縺ォ繧医j蜷堺サ倥¢繧峨l縺セ縺励◆縲
逕溽黄縺ョ蜴溷昴ョ蠖「縺ァ縺ゅk縺昴ョ縲悟次蠖「雉ェ縲阪′螟牙ョケ縺励∫エー閭槫」√°繧牙髮「豬ョ驕翫@縲∝、ァ縺阪↑蠕ェ迺ー縺ョ荳ュ縺ォ豸域サ縺励※繧縺上√◎縺ョ繧医≧縺ェ逕溷多縺ョ豬√l繧呈昴>襍キ縺薙&縺帙∪縺吶
窶サ 繧ォ繝シ繝懊Λ繝ウ繝繝謚豕
謚豕輔→縺励※縺ッ1960蟷エ莉」縺ォ繧「繝。繝ェ繧ォ縺ァ逕溘∪繧後∫音縺ォ繝溘Ο縲√け繝ゥ繝シ繝吶√ち繝斐お繧ケ縺ェ縺ゥ繧ケ繝壹う繝ウ縺ョ菴懷ョカ縺悟、夂畑縲
繧ォ繝シ繝懊Λ繝ウ繝繝シ育く蛹悶こ繧、邏シ峨→縺縺縲√し繝ウ繝峨壹シ繝代シ縺ョ遐皮」ィ蜑、縺ィ縺励※逕ィ縺繧峨l縺ヲ縺繧矩撼蟶ク縺ォ遑ャ縺邊峨r謗・逹蜑、縺ォ豺キ縺懊◆繧頑険繧頑寺縺代※驫迚医↓蝗コ逹縺輔○繧九
遲隗ヲ縺碁喝迚医ョ荳翫〒遶倶ス鍋噪縺ォ谿九j縲√◎縺ョ蠖「縺悟姐繧翫→繧峨l縲√◎縺励※繧ォ繝シ繝懊Λ繝ウ繝繝縺ョ邊貞ュ舌ョ邏ー縺九&縺ォ繧医▲縺ヲ縲∵取囓縺悟、牙喧縺吶k縲
菴懷ョカ繧ウ繝。繝ウ繝
繧「繝医Μ繧ィ縺ョ霑代¥縺ョ蟾昴′ Y 蟄励↓縺ェ縺」縺ヲ縺繧九ョ縺縺後∵昴>縺後¢縺ェ縺譁ケ縺ォ諤・繧ォ繝シ繝悶@縺ヲ豬√l縺ヲ縺縺」縺ヲ縺繧九
蟾昴ッ縲∵アコ縺セ縺」縺溘→縺薙m縺ォ豬√l縺ヲ縺縺上□縺代〒縺ッ縺ェ縺縺ョ縺縲
縺昴s縺ェ縺薙→繧呈昴>縺ェ縺後i迚育判繧偵▽縺上▲縺ヲ縺縺セ縺吶
A etching series 窶弃lasmolysis窶 and a series of woodcut prints 窶弋oufu窶.
A series of etchings 窶弃lasmolysis窶 consists of three 窶彡arborundum窶 and three etchings.
The carborundum technique creates the three-dimensional feeling as relief. And the etchings shows line drawing effect.
The title of this series 窶弃lasmolysis窶 means the phenomenon that the protoplasm separates and floats in the cell wall.
Presently, Aoki makes a series of sculpture works that have the title 窶徘rotoplasm窶.
And when she make these etchings, she imaged a kind of transform of protoplasm.
窶サ The 窶彡arborundum窶 technique
窶廚arborundum窶 was invented as a etching technique in 60窶冱 in USA. Then it was loved and used by Spanish artists such as Miro, Clave and Tテpies.
The carborundum is the abrasive black powder that you can find on the sandpaper.
The adhesive is painted with brush by the artist on the copper plate. Adhesive contains and/or was sprinkled carborundum (silicon carbide) powder on top.
The brush strokes remain as relief on the copper plate and you can print those shapes. And you can get variable tone depending the grain size of carborundum.
Artist窶冱 comment
Nearby my atelier, a stream has a tributary making the shape of Y.
Then the stream runs with the sharp curve.
Streams and rivers, they flow to not only the fixed and expected direction.
I窶冦 making the prints imagining such a thing.
譯隨ヲ
Toufu
2015
Noe ツAoki
髱呈惠驥取椌縺ョ驫迚育判繧キ繝ェ繝シ繧コ縲 Plasmolysis縲搾シ医励Λ繧コ繝「繝ェ繧キ繧ケシ峨→譛ィ迚育判繧キ繝ェ繝シ繧コ縲梧。隨ヲ縲搾シ医→縺縺オシ峨
縲梧。隨ヲ縲阪ッシ也せ縺ョ繧ォ繝ゥ繝輔Ν縺ェ豌エ諤ァ譛ィ迚医→シ醍せ縺ョ遶倶ス鍋噪縺ェ豐ケ諤ァ譛ィ迚医°繧峨↑繧区惠迚育判繧キ繝ェ繝シ繧コ縺ァ縺吶
繧ソ繧、繝医Ν縲梧。隨ヲ縲阪ッ蜈縲縲∝」√↑縺ゥ縺ォ雋シ繧峨l繧九%縺ィ縺ァ縲∫⊃蜴繧帝亟縺縺繧雁ケク遖上r繧ゅ◆繧峨☆縲後♀譛ュシ医♀縺オ縺シ峨阪ョ荳遞ョ縺ァ縺吶
譛ィ迚医r菴懊m縺縺ィ縺励◆譎ゅ↓鬆ュ縺ォ豬ョ縺九s縺縲瑚埋縺蜥檎エ吶↓譏弱k縺濶イ縺ァ鞫コ繧峨l縺溯サス縺諢溘§縺ョ繧ゅョ縲阪→縺縺繧、繝。繝シ繧ク縺後◎縺ョ繧医≧縺ェ蟄伜惠縺ァ縺ゅ▲縺溘◆繧√∝錐莉倥¢繧峨l縺セ縺励◆縲
菴懷ョカ繧ウ繝。繝ウ繝
繧「繝医Μ繧ィ縺ョ霑代¥縺ョ蟾昴′ Y 蟄励↓縺ェ縺」縺ヲ縺繧九ョ縺縺後∵昴>縺後¢縺ェ縺譁ケ縺ォ諤・繧ォ繝シ繝悶@縺ヲ豬√l縺ヲ縺縺」縺ヲ縺繧九
蟾昴ッ縲∵アコ縺セ縺」縺溘→縺薙m縺ォ豬√l縺ヲ縺縺上□縺代〒縺ッ縺ェ縺縺ョ縺縲
縺昴s縺ェ縺薙→繧呈昴>縺ェ縺後i迚育判繧偵▽縺上▲縺ヲ縺縺セ縺吶
A etching series 窶弃lasmolysis窶 and a series of woodcut prints 窶弋oufu窶.
窶弋oufu窶 is a series of six colorful water-based woodcut and one oil-based woodcut that has a relief feeling.
The title 窶弋oufu窶 is the name of Chinese amulet. They put them on the wall of houses and the around the porches to avoid the evils.
When Aoki started this series of woodcut, she imaged this kind of colorful and thin objects that invite the good luck and happiness.
Artist窶冱 comment
Nearby my atelier, a stream has a tributary making the shape of Y.
Then the stream runs with the sharp curve.
Streams and rivers, they flow to not only the fixed and expected direction.
I窶冦 making the prints imagining such a thing.
鮟堤脂
kurotama
2013
Noe ツAoki
繧ィ繝繝√Φ繧ー繧キ繝ェ繝シ繧コ縲朱サ堤脂縲上ッ縲∵ァ倥縺ェ謚豕輔〒迚育判繧剃ス懊▲縺ヲ縺阪◆髱呈惠驥取椌縺ョ蜴溽せ蝗槫クー縺ィ繧りィ縺縺ケ縺崎。ィ迴セ縺ァ縺吶ょ鴨蠑キ縺上せ繝医Ξ繝シ繝医↓繝ゥ繧、繝ウ繝峨Ο繝シ繧、繝ウ繧ー縺輔l縺溽キ壹r縲∝シキ繧√↓閻宣」溘☆繧九%縺ィ縺ォ繧医j迴セ縺輔l縺溷ス「縺ッ縲∫ォ倶ス謎ス懷刀繧繝峨Ο繝シ繧、繝ウ繧ー縲∫沿逕サ縺ォ縺翫¢繧玖。ィ迴セ縺ョ譬ク縺ョ繧医≧縺ェ繧ゅョ繧呈─縺倥&縺帙∪縺吶
蟆上カ繧翫↑菴懷刀縺ェ縺後i繝「繝九Η繝。繝ウ繧ソ繝ォ縺ェ髮ー蝗イ豌励b謖√▲縺溘お繝繝√Φ繧ー縺ァ縺吶
邇画寐
tamagumori
2011
Noe Aoki
4蟷エ縺カ繧翫ョ迚育判蛻カ菴懊→縺ェ縺」縺溘√%縺ョ驫迚育判繧キ繝ェ繝シ繧コ縺ッ縲髟キ譎る俣縺九¢縺ヲ驫迚医r豺ア縺剰宣」溘&縺帙◆縲後ョ繧」繝シ繝励サ繧ィ繝繝√Φ繧ー縲阪→縺縺謚豕輔r荳ュ蠢縺ォ蛻カ菴懊&繧後※縺縺セ縺吶
莉翫∪縺ァ縺ョ髱呈惠縺ョ迚育判縺ォ縺ゅ▲縺滓沐繧峨°縺ェ遨コ髢薙→縺ッ逡ー縺ェ繧翫驫迚医d繧、繝ウ繧ッ縺ィ縺縺」縺溽エ譚舌ョ迚ゥ雉ェ諢溘′蠑キ縺丞燕縺ォ蜃コ縺滉ス懷刀縺ァ縺吶
縺昴ョ螟牙喧縺ッ髱呈惠驥取椌縺ョ蠖ォ蛻サ菴懷刀縺ォ繧ょ酔譎ゅ↓隕九i繧後∪縺吶
驫迚育判縲豌エ螟ゥ繧キ繝ェ繝シ繧コ
suiten
2007
Noe Aoki
蟆上&縺譁ケ縺ョ13菴懷刀縺ッ譯千ョア縺ォ邏阪a繧峨l縲√そ繝繝医→縺励※邨縺セ繧後∪縺励◆縲
逋ス邇峨邇蛾涸
shiratama縲tamakagiru
2004
Noe Aoki
螟壹¥縺ョ邇峨→縺昴l繧偵▽縺ェ縺千キ壹↓繧医k陦ィ迴セ縺ッ蠖ォ蛻サ縺ィ繧ら嶌騾壹§繧九b縺ョ縺ァ縺吶る喝迚医∵惠迚医→繧ゅ↓繧ォ繝ゥ繝輔Ν縺ェ菴懷刀縺悟、壹¥縲∵主ソォ縺ェ陦ィ迴セ縺檎岼繧貞シ輔″縺セ縺吶
蠖ォ蛻サ繧偵▽縺上▲縺ヲ縺縺ヲ縲
縺オ縺ィ縺薙l縺ッ縺ゥ縺薙°縺ァ莨壹▲縺溘h縺縺ェ縲
縺ィ縺縺豌励′縺吶k縺薙→縺後≠繧九
繧医¥諤昴>蜃コ縺励※縺ソ繧九→縲
迚育判縺ョ荳ュ縺ォ蜃コ縺ヲ縺阪※縺縺溘ョ縺縺ィ繧上°繧九
縺昴l縺ッ譎ゅr蜑榊セ後@縺ヲ縲
縺繧阪>繧阪↑縺ィ縺薙m縺ォ縲√オ縺ィ縺ゅi繧上l繧九ョ縺繧阪≧縲
莉翫ッ縺昴l縺ォ縺、縺縺ヲ閠縺医◆繧翫√イ縺ィ縺、縺ォ縺セ縺ィ繧√h縺縺ィ縺帙★縲
縺昴ョ縺セ縺セ豺キ豐後→縺励※縺翫″縺溘>縲
髱呈惠 驥取椌
蟇貞、ゥ
kanten
2000
Noe Aoki
縺昴ョ螟ァ隕乗ィ。縺ェ蛟句ア輔〒縺ッ縲悟ッ貞、ゥ縲阪→鬘後&繧後◆蠖ォ蛻サ縺檎匱陦ィ縺輔l縺セ縺励◆縲ら沿逕サ縲悟ッ貞、ゥ縲阪ッ縺昴ョ蠖ォ蛻サ縺ィ蟷ウ陦後@縺ヲ蛻カ菴懊&繧後∫沿逕サ縺ョ荳ュ縺ォ逕溘∪繧後◆遨コ髢薙ッ縲√◎繧後i縺ョ蠖ォ蛻サ繧貞スキ蠖ソ縺ィ縺輔○縺セ縺吶
縺セ縺溘√悟ッ貞、ゥシ悶阪ッ縲∝句ア戊ィ伜ソオ菴懷刀縺ィ縺励※縲∫岼鮟貞玄鄒手。馴、ィ縺ァ逋コ陦ィ繝サ雋ゥ螢イ縺輔l縺セ縺励◆縲
阮ャ邇
kusudama
1999
Noe Aoki
諠譎ッ逧縺ェ遨コ髢薙°繧峨√◎縺ョ邏ー驛ィ縺ョ繧医≧縺ェ逕サ髱「縺セ縺ァ縲√ヰ繝ェ繧ィ繝シ繧キ繝ァ繝ウ雎翫°縺ォ縲√き繝ゥ繝輔Ν縺ォ莉穂ク翫′縺」縺ヲ縺縺セ縺吶
縺縺上▽縺九ョ菴懷刀縺ォ縺ッ縲髱呈惠縺悟スォ蛻サ菴懷刀縺ァ驩繧貞縺」縺ヲ蠖「繧剃ス懊k縺ィ縺阪ョ繧医≧縺ォ縲∫エ吶r蛻縺」縺ヲ譛ィ迚医↓雋シ繧贋サ倥¢縺溘∫エ咏沿繧ゆスソ繧上l縺ヲ縺縺セ縺吶
9菴懷刀縺悟宛菴懊&繧後4菴懷刀縺ッ繝昴シ繝医ヵ繧ゥ繝ェ繧ェ縺ィ縺励※邨縺セ繧後∪縺励◆縲ゅ∪縺滓怙蠕後ョ2菴懷刀縺ッシ代Γ繝シ繝医Ν繧定カ縺医k蜈螳溘@縺溷、ァ蝙倶ス懷刀縺ィ縺ェ繧翫∪縺励◆縲
豌エ蜀
suikan
1998
Noe Aoki
豺ア縺髣縺ョ荳ュ縺ォ蟆代@蜈峨r謾セ縺、縺九ョ繧医≧縺ォ譟斐i縺九↑遶倶ス薙′髱吶°縺ォ遶九■荳翫′繧翫∪縺吶
10菴懷刀縺悟宛菴懊&繧後∵ーエ蜀シ托ス橸シ輔ョシ穂ス懷刀縺ッ繝昴シ繝医ヵ繧ゥ繝ェ繧ェ縺ィ縺励※邨縺セ繧後∪縺励◆縲
莠豎繝サ闢ョ豎
kameike繝サhasuike
1997
Noe Aoki
髮イ蝙」繧医j繧ょ、ァ逕サ髱「縺ァ縲√h繧雁スォ蛻サ縺ョ遶倶ス捺ァ繧呈─縺倥&繧句鴨蠑キ縺陦ィ迴セ縺ァ縺吶
髮イ蝙」
kumogaki
1997
Noe Aoki
繝峨Λ繧、繝昴う繝ウ繝医r荳ュ蠢縺ィ縺励◆縲∵沐繧峨°縺ァ蛻昴縺励>邱壹′蜊ー雎。逧縺ェ菴懷刀縺ァ縺吶ゅ%繧後i縺ョ菴懷刀縺ッ繝昴シ繝医ヵ繧ゥ繝ェ繧ェ縺ィ縺励※邨縺セ繧後∪縺励◆縲ょ酔譎よ悄縺ォ驫迚育判繧キ繝ェ繝シ繧コ縲惹コ豎繝サ闢ョ豎縲上b蛻カ菴懊&繧後∪縺励◆縲