2/14[金]― 27[木]
niigata eya exhibition 687
バク銅谷が絵や、流木による立体をつくり出した。きっと体のなかにいろんなものが溜まっていたのだろう、筆先、指先から次々湧くように出てくる。ちょっとナマすぎるイメージに、面白いと思いつつ、すこしとまどったが、見せに来た本人もとまどっているふうだった。必要なのは、まだ絡まったへその緒を切り、人目の空気を吸わせ「産声」をあげさせることだろう。それらが、自分で生き始めるように。(文:大倉 宏/企画者:井上美雪・大倉 宏)
Baku Douya created paintings and three-dimensional objects made of driftwood; those
things seemed to be flowing out from his brush strokes and fingertips one after another,as if he had accumulated a lot of observations in his being. I thought it was interesting, but at the same time, I was a bit puzzled by the image, which was a little too raw, but the person who came to show it to me also seemed to be confused. What is needed is to cut the umbilical cord that is still entangling the baby and let the baby breathe the air of the public and “be born.” Let them begin to live on their own. (Text: Hiroshi Okura / Exhibition Planner: Miyuki Inoue and Hiroshi Okura)
バク銅谷(ばく どうや)
1950年新潟市の下町生まれ。祖父は画家の銅谷白洋、父は彫刻家の銅谷繁雄、母は郷土玩具のろま人形を制作する家で育つ。20代は太平洋美術研究所に通い、そのかたわら奈良清四郎氏を師事。その後、会社勤めで絵から離れたが、コロナ渦をきっかけに落書きを始める。最近は流木で遊ぶ。
Baku Douya
Born in 1950 in downtown Niigata City. He grew up in a house where his grandfather, Hakuyo Douya, was a painter; his father, Shigeo Douya, was a sculptor, and his mother made Noroma dolls, a local toy. In his 20s, he attended the Taiheiyo Art Research Institute, where he studied under Seishiro Nara. He later left painting to work for a company, but began doodling after the COVID-19 pandemic. Recently, he has been experimenting with driftwood.
PHOTO(上):「無題」 2024年 アクリル/板 25×25cm
PHOTO:2024年 アクリル・パステル・鉛筆/木 19.7×22.6cm
PHOTO:「無題」024年流木W10.6×D10・9×H19.5cm