私は、無常観を人生観の根底に据え、存在が揺らぎつつ立ち上がるリアリティを、彫刻を通じて定着させようとします。人間のリアリティは、解剖学的な正確さのみに宿るものではなく、変容し続ける不確かさにこそ本質があると考えます。量塊によって完成や永続性を示してきた従来の彫刻に対し問いを立て、実態と「空」のあいだにある、私が捉える人間存在のリアリティの構築を主題としています。

形は確かに存在しながら、同時に空である。この矛盾が生む緊張と静けさの中に、私は彫刻の新たなリアリティを見出し、平和、美への希求といった静かで普遍的な願いをそこに託します。

 

VOIDREALISM（ボイドリアリズム）

　西洋のリアリズムは主に見えたものをどこまで描きこむか、画面を充実させるか、そんな足し算の考えのリアリズムが基本です。デッサンなど余白も多い白黒の下絵は主に脇役です。一方で東洋では水墨画や日本絵画からもわかるように、余白は積極的に扱われます。白黒表現も完成された表現として昔から存在します。東洋では積極的に扱われてきた「余白」「間」「抜け」「省略」こういった要素を私は「VOID」と解釈しました。これらVOIDはリアリズムに必須の要素であり、リアリティを増幅させるものだと考えます。VOIDは色即是空に通じる表現ともいわれ、それはすなわち我々の世界観「リアリズム」でもあります。VOIDが積極的にリアリティに貢献し、表現されたリアリズムをVOIDREALISMと私は定義します。

 

融線塑像（ゆうせんそぞう）

　ブロンズ像の基となる技法「塑像」（彫塑）は粘土の量塊で構築されます。世界各地の具象彫刻はマッスとボリュームが前提となってきました。これは存在感の表現であると同時に、立体物を成立させるための物理的な制約でもありました。量ではない人体表現としては針金彫刻や金属による具象彫刻があります。これは線的な要素で写実が成立し、ボリュームとしての具象彫刻への問いとなってきました。私はここにもう一つ要素を加えました。ロダニズムが成立させた美意識の一つに、作家の手跡から感じるライブ感とそこにある生命感があり、それも大切な要素だと考えたからです。

　そこで私は独自の技法に到達しました。当技法は針金彫刻と、樹脂を溶かす３Ｄペンでの技法をブレンドしたものです。ベースとなる針金をロウ付けし、樹脂を溶かして造形し、線的な要素で量を表現するので融線塑像と名付けました。融線塑像により、有機的に線と面を行き来しながら存在が見え隠れする造形を行うことが可能です。

 

I place the Buddhist concept of impermanence at the foundation of my view of life, and through sculpture, I seek to give form to a reality in which existence emerges while remaining in a state of continual instability. I believe that human reality does not reside solely in anatomical accuracy, but rather in the uncertainty of a being that is constantly undergoing transformation. In contrast to conventional sculpture, which has traditionally expressed completion and permanence through mass and volume, I question this premise and make it my subject to construct what I perceive as the reality of human existence—something that lies between substance and “emptiness.”

A form can undeniably exist while simultaneously being empty. Within the tension and stillness created by this contradiction, I discover a new sense of reality in sculpture. I entrust my work with quiet, universal aspirations such as the longing for peace and the pursuit of beauty.

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VOIDREALISM

Western realism has primarily been based on an additive approach: how much can be rendered, and how fully can the picture plane be filled with visible information? Preliminary studies such as drawings, with their large areas of blank space and monochromatic treatment, have often remained secondary elements. In contrast, in Eastern traditions, as seen in ink painting and Japanese painting, empty space has been actively incorporated as an essential part of the composition. Monochromatic expression has also existed for centuries as a complete and autonomous form of artistic expression.

I interpret elements such as “negative space,” “ma” (interval or space between things), openings, and omission—elements that have been actively embraced in Eastern aesthetics—as “VOID.” I believe these VOID elements are essential to realism and serve to amplify reality itself. VOID has also been understood as an expression connected to the Buddhist concept of shiki soku ze ku—“form is emptiness”—which, in turn, reflects our own understanding of the world and of realism.

I define VOIDREALISM as a form of realism in which VOID actively contributes to and intensifies the sense of reality within the work.

 

Yūsen Sōzō (融線塑像)

The foundational technique for bronze sculpture, sōzō (塑像, modeling), traditionally constructs the figure through masses of clay. Figurative sculpture around the world has generally been based on mass and volume. This has been both a means of expressing presence and a physical constraint imposed by the necessity of making a three-dimensional object exist.

As an alternative to volumetric representations of the human body, there have also been wire sculptures and figurative works made from metal. In these approaches, realism is achieved through linear elements, presenting a fundamental question to the traditional concept of figurative sculpture based on mass and volume.

I have added another element to this approach. One of the aesthetic values established through Rodinism is the sense of immediacy and vitality perceived through the artist’s physical traces—the evidence of the artist’s hand in the work. I consider this to be an equally important element of sculptural expression.

Through this exploration, I arrived at my own original technique. It combines wire sculpture with a technique using a 3D pen that melts resin. I solder wire to create the underlying framework, then melt and shape resin onto it. Because this technique uses linear elements to articulate and express volume, I named it Yūsen Sōzō (融線塑像), literally “molded sculpture through fused lines.”

Yūsen Sōzō makes it possible to create forms in which existence continuously moves between line and surface, allowing the figure to appear and disappear organically—revealing itself while simultaneously slipping back into