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2021/03/23 14:02


Continue to hit iron tools for 15 years

Heat the iron tool bright red to soften it.
Hit it with a hammer and flatten it.
The trace of heating is the body temperature of the material.
The struck and wavy expression is the pulse of the material.
Industrial products that had a uniform shape begin to have individuality and become organic like living things.
… When I was in my twenties, I started making art works using this method. Fifteen years have passed since then. I would like to organize the history so far and write it down. It also serves as a self-introduction to the people I meet in the future.


Before that, I was making works out of iron. However, there was a time when I was a little bored because I could only make things according to my own image. At that time, I used to crush it with a hammer to make it smaller in order to throw away each can. Then, in front of me, a mysterious shape that I had never seen appeared. The strange form that is neither a circle nor a triangle nor a square is interesting. Next, I gathered up the used spray cans and hit them all. Then, the spray cans that originally had the same shape became different contours one by one, and different wrinkles were born. When I was observing the situation, I felt that I could get rid of the boredom I had so far, so I decided to crush it every time iron waste was produced in my daily life.



At this point, it was more of a play than a work, but soon I was invited to an exhibition. The venue is a stylish Scandinavian furniture store in Daikanyama. Let's put out an object that just hit the scraps there ... No, it's not good ... Although it shook between interest and fear, after all the interest won and I tried to put it out for the first time. I got a good evaluation and got courage, so I decided to make it seriously from now on.
"First of all, there is a concept and a message, and I make a work to express it."
If that was the standard way for artists, I was in the opposite order. First, I moved my hand and hit the tool, and later I verified what I was doing and verbalized it.
I said it was the opposite of the standard method. But if you're the type of person who moves without thinking and fails, you might sympathize with my way of doing things.


I had variations in the place to announce, so I was able to continue without getting bored. There are many other things besides the gallery-like space where only works exist. We exhibited and installed it in various places such as commercial spaces, public spaces, offices, nursery centers, and private residences. This was really lucky. Different situations have similar production processes, but different points of focus. Sometimes material gathering is paramount, and sometimes surface finishing is paramount. The reason why I was able to continue for a long time was that I changed the tuning according to the situation.


One of the special tunings I've done is "Memory of Ship's Hull" made at the Setouchi Triennale. It was released in 2013, but the rerease timing is not the end of the production but the starting point. Called a growing sculpture, this project regularly visits the site, hits iron together, and welds it to the work. It's a permanent production rather than a permanent installation, and the emphasis is on continuing for as long as possible. Eight years have passed since the installation, but thanks to the support of the local people, permanent making is still ongoing.


In the process of hitting a lot of tools, it became possible to predict to some extent what the shape would be if hit. This has both advantages and disadvantages.
First of all, the advantage. Being able to predict means that I can draw a concrete rendering, and can also calculate the budget and production time. Then, a large-scale project can be realized. It was around this time that I realized that "hitting tools is able to be a job."
The disadvantage is the boringness that can be predicted. If the unexpected events that happened during the work are gone, the author himself will not be able to stay fresh mind. The solution to this problem was a workshop where others could hit iron tools. If the person who hits it changes, the expression of iron also changes. I was able to refresh myself each time.
And there's another idea to overcome boredom. It is a reconstruction after hitting. I started to create a new image by connecting many "organic" that were born by hitting. The images I have made so far are plants, animals, rocks, alphabets, hieroglyphs, etc. I can enjoy unexpected discoveries when combine them, so I can continue with a fresh feeling.


・ The origin is the work that only hitting. Focus on searching shape rather than making shape.
・ The reconstructed work is an applied version. Creating a new image by utilizing the origin.
In this way, it is now possible to classify the iron hitting series as simple.


・ Left photo is a work of hitting an iron tool related to shipbuilding at a hotel in Shiomi.
・ Right photo is a work of hitting iron tools collected locally at a hotel in Kanazawa, reconstructing it on a pine tree, and pasting gold leaf.
Coincidentally, at the same time, I installed works that thoroughly investigated the origin and the applied version in different places. If you put the two side by side, you can clearly see the difference in direction.



It's a very simple act to heat and hit, but there are always parts that even the skilled blacksmith can't control. I feel that there is space for something other than myself to enter. For example, unexpected shapes and colors, aging, work of others. Looking back on the 15 years I've been hitting tools, this kind of relationship with others has greatly opened the way for me. And to meet "something other than myself" that I haven't seen yet. I go back to the beginning, move my hand, and then verify. I want to take good care of this process.

▶Past works can be viewed at PORTFOLIO.