我想伸向另一边，或者相反，我想看看另一边，同时体验画家的位置的许多层，画布的位置，以及另一侧的位置。Narumi Sasaki是一名剪切画布，并以拼贴的方式在屏幕上排列彩色玻璃，矿物质和其他材料。她说，她的绘画世界是用多种材料分层的，类似于“挖掘画布”。在毕业于大黄山的Loko画廊毕业生毕业生之后，她有机会与她交谈后。
郁金香，帆布/陶瓷的夜油，42×33cm，2018首先，你能告诉我们你的展览和你的作品吗？- 在组成条款，我主要选择了过去一年和一半的职业生涯。我从大学毕业了一年半前，这是我自那时的第一个独奏展览。至于我的作品，人们经常问我是否是雕塑，三维作品或绘画，但在我的脑海中，他们是绘画，我就是这样。I’ve been painting for a long time now, and there was a period of time when I carefully explored within myself what painting is again, and I wasn’t very conscious of it, but this time I have the impression that it has come out as a work or an exhibition.
帆布/石材上的编织草油，50×32.5cm，2018你在谈论绘画本身的行为吗？ Also, I think the collage element is prominent in your work, is this also a result of that? Well… it was around 2017 that I made a definite shift towards cutting the canvas and putting things together like a collage. At that time, I was actually studying abroad in France for about half a year, and that was a pretty big starting point. I went there to study modern art, and among other things, I became very interested in religious facilities. Over there, there are Christian churches, Islamic temples, Jewish temples, and facilities that are a mixture of various situations. I was interested in looking at decorative arts in such places, but as I went to several of them, I became fascinated by the fact that the spiritual structure that people seek or have to seek in order to live, and the products that go along with it, are all the same. I was absorbed in this. I can’t really put it into words yet, but I think drawing may be close to that kind of desire. However, I really felt that I had to wait for something different, something bigger than myself, to work in order to achieve that desire. I think that’s how my work changed. So you started cutting canvases and such as a result of that? -Yes, it did. I haven’t been able to put into words the specific cause-and-effect relationship, but at first I started by putting things together, and then I started to fill the canvas with various materials as a kind of decoration. There seems to be a variation in the materials, but at the same time there seems to be a common thread. Yes, I choose materials that are close to nature, to a point. Wood, ceramics, and also glass, stained glass. It’s not always a good idea, and sometimes I don’t think it’s a good idea at all, but I’m waiting for the right combination. It wasn’t until then that I started cutting canvas. Is that a way of dealing with the mixture of the two? -I can’t wait when I’m painting. There are times when I am painting in a saturated state where there is nothing I can do. And when I want to somehow turn it upside down… or rather, when I have the desire to turn it upside down, I cut the canvas. But when I cut it, I’m really surprised, even by myself. Even though I cut it myself (laughs). (laughs) “Oh, I cut it. But still, when I cut it, I felt strong, or like I couldn’t go back. It’s like the whole world has changed at once, like a natural disaster has happened. It’s as if the world has changed in one fell swoop. It doesn’t mean that there will be no change, but rather… something that had a certain form will break down, and while the current situation will be restored, different elements will be incorporated, and this will activate the recombination in the picture. However, the painting that emerges as I manage to cope with this cataclysmic situation is, of course, what I am looking for, but it is also more beautiful than I am looking for. I feel that this situation itself is very similar to the world itself. There are many different scales of the world, and in a very large sense, I think it is similar to the structure of the universe, but I also think that there is a world in the interpersonal relationships that we are talking about right now. I would like to understand this relationship and the way it is when I paint.返回拼贴画，你有意识地创造这种多层效果吗？- 我在我工作的时候没有意识地想到它，但我的作品往往非常分层，当我看结果时，我经常想，“哦，这很重要。当我在绘画前看帆布时，它看起来像个白墙。它看起来像一个窗帘，或者是一个隐藏一些东西的窗帘。我正在寻找什么时候画画，我认为画布后面有一些东西。......我有时在涂漆时触摸画布。这是白色的，没有什么，但我觉得它背后有一些东西，它可能会导致某事。我想到它的背部，但画布的墙壁是如此厚。我一直试图到达那里，但在这种情况下，深度的结构非常重要。我想伸向另一方，或者更确切地说，我想看到另一边，同时体验画家的许多层，画布和另一边。 So it’s almost like I’m digging a little bit. I want to break through this canvas material and reach the other side, so as a result, it has to be multi-layered in some ways. Is it important to choose materials that are close to nature when digging or layering? -There’s a simple affinity with the material, but I’m really interested in stones and soil. …I know it’s a very abstract way of putting it, but I’m really interested in the inexorable feeling of stone and soil, or the fact that although they are inexorable, stones seem to remain unchanged over time, but when you polish them, they change their shape. Whether it is stone or wood, I feel that each has its own hidden power, and it is easy to expand one’s imagination. As for glass, I started using it when I was visiting churches. Stained glass is set up on the wall like a canvas, standing against the sky, and the light coming from behind the stained glass illuminates the colors and brings them to us. I thought that there was a mechanism that made me feel an indescribable emotion. I also heard from the muralist that cutting the stained glass is a part of the sisters’ training, and I was curious about the origins of cutting and pasting while holding some kind of spirituality. It’s a special material for me because of its function and also because I feel that the background itself has a meaning. For example, “Flexible Cosmos” is somewhat like a landscape painting, but is it possible to envision the “other side of the canvas” that you said you wanted to reach? -To be honest, I haven’t been able to express it well in my own words yet. I want to touch it, but I don’t know what it is, and I can’t say it clearly in my own words, and for convenience, the gallery described it as “metaphysical,” but it still doesn’t feel right to me. The title of the exhibition is “…/ # La la la la la la la la la la la ………. Do do do do do do… Ah ah ah… I’m thinking that if you look at it from the side, it looks like a rice field, the horizon, and the moon (laughs). There is a rice field behind my studio, and I often go for a walk when I am stuck, and it is a very large field, and there are no tall buildings, so I can see the sky clearly, and I can see the sky and horizon line on the other side, and the moon is above it. I thought that this was similar to the feeling of painting a picture on this side of the canvas while facing the other side. I think that the world view, the sense of landscape, the rice field, the horizon, and the moon, is similar to the structure of a painting. I’d like to deepen my thoughts on what this can indicate in the future. That’s it for this interview. Thank you very much for your time today. -Thank you very much for your time.
Narumi Sasaki于1990年出生于广岛县。2014年毕业于东京国立美术大学和音乐大学，拥有油画。2016年在艺术大学（法国）学习，并于2018年在东京东京大学的石油绘画中完成了研究生研究。主要独奏展览：“奇迹世界：Narumi Sasaki Solo展览”，东京奇迹网站Shibuya，2014;“Narumi Sasaki Solo展览”，东京都市政府办公室，2014年。主要集团展览：2018“艺术奖Marunouchi 2018”，Marunouchi Gyoko地下画廊，2018.“吉祥地下”/ echikaIkebukuro画廊。2014年“Higashi Omiya Young 雷竞技官网网站Artist”/ Higashi Omiya社区中心。中心。2014年“Masato Kobayashi和Daisuke Oba实验室交流展”/京都艺术与设计大学，2013年。主要奖：2018年艺术奖Marunouchi;Akiya Takahashi奖，2018年;地铁文化基金会奖，2018年;东京奇迹墙奖，2013;Ueno Geiyu奖，2013年。主要奖学金：Kamiyama Foundation Art计划，2017年。广岛奖学金，2017年。Jasso学生交流支持组织，2017.Narumi Sasaki / #La La La La La La La La La La La ......... Do do do do do… Ah ah ah… Period: October 4 – November 2, 2019 Venue: 12-6 Uguisudani-cho, Shibuya-ku, Tokyo LOKO GALLERY Opening hours: 11:00 – 19:00 Closed on Sunday, Monday and Holidays Access: 6 minutes walk from Daikanyama Station (Tokyu Toyoko Line) URL http://lokogallery.com/
