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無の反対側
- Presence and Absence -
| 日 程 | 2023年3月14日(火)〜3月26日(土) |
| 時 間 | 12時〜19時最終日17:00まで(休廊日：月曜日） |
| 助 成 | 公益財団法人クマ財団 公益財団法人野村財団 |
| HP | https://www.yuanfangzhou.com |
| yuan_fangzhou |
この度アルスギャラリーでは、東京を拠点に活動する袁方洲(エンホウシュウ)の個展「無の反対側 - Presence and Absence -」を、表参道にある白いキューブをモチーフにしたギャラリースペースにて開催いたします。
ポスト・ミニマリズムにおける現象学的な経験から影響を受け、袁の作品は抽象的な幾何形体や物質性、規則的な反復表現に対する強い興味を示します。本展「無の反対側 - Presence and Absence -」では人・物・自然の不可分な関係を可視化し、ガラス素材そのものの「意識」を通じて彼自身と現実のつながりを確立します。彼自身の哲学を通じて、人間の無意識な破片の再構築された立体と平面作品は、2021年の個展で展示された「中間体」シリーズによる探究を継承しつつ、新たな表現の境界線を示します。
Ars Gallery is an art space in the motif of a white cube in Omotesando, Tokyo. At this time, Ars gallery is pleased to present Tokyo-based artist Yuan FangZhou’s solo exhibition-“Presence and Absence”.
Influenced by the phenomenological experience of post-minimalism, Yuan’s works present his interest in abstract geometric forms, materiality, and regular repetition. In this exhibition, “Presence and Absence”, Yuan’s works visualized the indivisible relationship between people, objects, and nature, establishing the connection between himself and reality through the consciousness of the glass material itself.
Continuing with his last solo exhibition, the “intermediary compound” series in 2021, Yuan constantly pushes the boundaries of glass materials based on his philosophical ideology toward our natural surroundings. In this exhibition, “Presence and Absence”, Yuan reveals a new expression of glass materials through both three-dimensional and two-dimensional, reconstructing the unconscious fragments of human beings.
展示風景
袁方洲は、中国遼寧省生まれ。2018年清華大学美術学部工芸専攻を卒業後来日。現在、東京藝術大学大学院工芸科博士後期課程に在籍し、茨城を拠点に活動している。中国や日本だけに留まらず、韓国、チェコ、バングラデシュなどグロバールに作品発表を続けている。人・物・自然の関係性に着目し、ポスト・ミニマリズムや仏教などの東洋思想に影響された自身の哲学基づき、ガラス素材を中心に、立体、絵画、映像なと゛複数のメテ゛ィアと技法を交錯させる作品を展開している。
主な展示に、「創立50年記念 '21 日本のガラス展 Glass '21 in Japan」（ヒルサイドフォーラム/東京）、個展「虚実体 The nonentity within the entity」（デカメロン/東京）、「第24回岡本太郎現代芸術賞展」（川崎市岡本太郎美術館/川崎市）、「2020 ASYAAF & Hidden Artists Festival」（弘益美術館/韓国) など。
その他、クマ財団クリエイター奨学金第四、五期生、東京藝術大学原田賞奨学基金受賞、第14回大分アジア彫刻展優秀賞など。
九年間、袁方洲はガラス素材で制作活動を行い、主にキルンワークという冷えたガラスを電気炉に入れ加熱する事でガラスを成形する技法で作品を制作している。 ガラス素材自身の「意識」を尊重し、彼の作品は、素材の変形や重力など、焼成過程における自然に生み出される偶発的な形に関心を持っている。独自の表現手段をきっかけで、彼は身の回りの世界を観察し、自身の記憶と経験に基づき、独特な表情を持つガラスで自然と人工の間の世の中には存在しない物質を構築し、現実の中で再現しています。
Born in Liaoning Province, China, Yuan Fangzhou came to Japan in 2018 after graduating from Tsinghua University, majoring in Arts and Crafts. Yuan is currently enrolled in the Department of Crafts doctoral program at the Tokyo University of the Arts and lives and works in Ibaraki. He has been showing his works not only in Japan but also in China, Korea, the Czech Republic, Bangladesh, and other locations around the globe. Yuan’s work is based on his philosophy of the relationship between people, objects and nature, and is influenced by Eastern schools of thought such as post-minimalism and Buddhism. Focusing on glass, Yuan uses a variety of media and techniques including sculpture, painting and video.
Major exhibitions include "The 50th Anniversary, Glass '21 in Japan" (Hillside Forum, Tokyo), "The nonentity within the entity" (Decameron, Tokyo), "The 24th Taro Okamoto Award for Contemporary Art" (Taro Okamoto Museum of Art, Kawasaki, Japan), and the "2020 ASYAAF & Hidden Artists Festival" (Hongik Museum of Art/Korea).
Other awards include the 4th and 5th Kuma Foundation Creator Scholarship, the Harada Prize Scholarship Fund at Tokyo University of the Arts, and the Excellence Prize at the 14th Oita Asian Sculpture Exhibition.
Yuan has been using the material of glass for nine years, he mainly focused on kiln work, a technique of shaping glass by heating cold glass in an electric furnace. Based on Yuan's respect for the natural feature of glass material, his work shows his interest in the accidental forms created by natural accidents during glass-making processes such as the transformation of the material and the force of gravity. Yuan’s intermingles with multiple media allow him to observe the world around him in various ways. Based on his own memories and experiences, transformed the glass material into the intermediate between natural objects and man-made objects, wrapping reality with his own language, and creating intriguing viewpoints for the viewers.
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