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私は都市を宗教建築に見立て作品を制作しています。
それに至った経緯と制作の動機を解説します。

日本の自然豊かな九州で育った私が、東京の幾重にも連なるビル群を初めて見た時、
ビル群は故郷の山々の様に巨大で、その中に入れば森林の様に感じました。
古くから様々な神話が伝わる故郷の自然に畏怖を感じていた私は、東京のビル群からも畏怖を感じました。
何故人工物から畏怖を感じるのか、その時は見当も付きませんでした。
しかし、故郷と東京を往き来する中で、人間が自然を作り替えて作ったのが都市だからだと気付き、
大きな衝撃を受けました。都市は新しい自然なのです。 都市を構成する建築物の材料は、自然からの産出物で作られている事を考えると、この感情は正確なものだと思います。

東京での生活で気付いたのは、九州には自然が作った美しいものがあるが、東京には人間が作った美しいものがある、という事です。
また、東京はどこまで行っても東京が途切れず延々と都会が続き、止まる事無く変化し続ける姿はまるで万華鏡です。

この作品は当初、私的な聖域を作る目的で制作しはじめた作品です。
初めての都会での生活は様々な負担が大きく心身共に疲弊した為、自分を保ち癒す目的でそれを必要としました。
そうして都会を撮影し、作り続けた作品がシンメトリーであったのは意味の有る事でした。

これは、日本人の自然観と宗教建築に関係があります。
何故なら、古代から日本人は自然の中に神を見出だしてきた民族だからです。
豊穣な自然からの恩恵は感謝の念を与え、強大な自然災害は恐怖を植え付け、自然全てが畏怖の対象となりました。
そして、自然崇拝を生み八百万の神へとなったのです。
この日本人としての自然観と、生まれ育った九州の環境が、都市から畏怖を感じる事につながりました。

また、古くから人間の信仰や祈りが集まる場所にはシンメトリーの宗教建築物がありました。
神社、寺、モスク、教会、ピラミッドに至るまで様々です。
人が敬虔な想いを具現化する際、時と地域を越えてシンメトリーは世界共通です。

そういった、人間が持つ根源的な造形感覚を原動力とし15年間制作を続けてきました。
これからも、この作品で都市風景を再構築し、都市の新しい解釈を提示していきます。

I see cities as religious constructions in my creation process.
The following explains all the trails and motives of my works.

Skyscrapers in Tokyo are mighty and growing with dense. When I first saw those buildings jointed closely together,
I felt like as same as walking into the grove of towering trees and mountains in my hometown, Kumamoto, Kyushu.
I have always been in awe of nature in Kumamoto with its various myths which have been passed down since ancient times.
Likewise, I somehow experienced a tremendous sense of awe when I was surrounded by those concrete structures in Tokyo.
The reason why I felt in that way toward such artefacts remained as a question at that time.

After times of shuttling between my hometown and Tokyo,
I realize that a great metropolis is what humans created with nature as a matter of fact.
A city is a new figure of nature. Materials of buildings are taken from nature.
Natural productions are transformed and applied to putting up innumerable constructions in a city.
Therefore, what I felt in a concrete jungle is equivalent to the feelings of awe I had in a forest and mountains.

Living in this highly developed city, I find out while there is natural beauty in Kumamoto,
Tokyo is full of its own attractiveness and magnificence created by human beings.
Moreover, the immense scene of concrete characterizes the skyline.
Those giant constructions spring up to cover the city as a consistently changing kaleidoscope.

Taking photos of the splendid city is like making myself a sacrosanct space.
Living in such a capital city for the first time is a heavy burden which makes me feel exhausted both physically and mentally.
In order to escape, or I should say to rescue and heal myself, it is necessary for me to build a sanctuary correspondently.
Photoing the city is the way I have been trying for years.
Symmetrical compositions play a great role in this series of works.
The symmetry here means a kind of aesthetic quality of architecture.
Take jinja for instance, TORII (the entrance which symbolizes the transition to the sacred) and
SHRINE show symmetry with elaborately designed devices and compositions.
Similarly, my works share the same idea with religious buildings by
creating symmetrical space: turning buildings upside down and flipping landscapes horizontally.

The reason why I construct my sense of security by recording those building in Tokyo has something to do with the Japanese view of nature and primitive religious architectures.
Japanese people believe that gods and spirits could be found in nature.
The native religion and the former ethnic cult of Japan have a rather deep connection with nature.
We, Japanese natives, express gratitude to abundant nature where we benefit from and show fear of violent and uncontrollable natural disasters.
Admiration, veneration and trepidation form the basis of nature worship toward myriad gods.
As a Japanese who grew up in Kyushu’s environment with the ancient nature worship,
I finally understand the sense of fear that I have in the capitalized city, Tokyo.

On the other hand, places of worship are correspondent to religions.
Structures and consecrated spaces for religious purposes,
such as jinja, temple, mosque, mass, pyramid et cetera, are embodiments of various beliefs.
Breaking through limits of time and space,
no matter what kind of beliefs do people have, seeking and erecting religious buildings as sacred precincts are in common around the world.

Hence, driven by the original ability of modelling and sensations of a human being, I have been creating works for more than fifteen years.
I will, with this series of works, continuously give new interpretations of the city by photoing.



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