©Oyama Enrico Isamu Letter
How much can a structure be also a moving body? How much tenseness can it get to draw a line or paint a flat surface? And, when does a "shape" start to exist as a "figure"?
"Quick Turn Structure" is a name I invented for the recurrent motifs of my work. Lines which slash back, spin and intercross. Painted surfaces and their volumes. These operations of simple visual objects create a complex body in their minimal and spontaneous expansion; this is QTS. Its tightly-knit structure multiplies by intrinsic order and keeps moving without hardening up. What is driving there is not mathematical procedure, nor random coincidence, but a somatically acquired method. In this way, the sequence of operations that are performed stoically focuses the image at some specific point, and QTS gets to be built up into a work of art -- but then soon afterwards, the next move will start from a different point. As if the art work were just a resting place while it is in motion.
On the other hand, as we know, in the complexity of our highly globalized society with its evolved information technology, working and thinking as an artist is always linkable to various possibilities. QTS also leads my imagination to diverse genres, materials, media, concepts and eventually actualizes a new creation. It sometimes changes its aspects and perspectives when interacting with other artists or other different motifs. QTS itself might be slowly rewritten under these environmental conditions. It is always open to various expressions of interest even though -- or just because -- it certainly is an autonomous figurative element.
Oyama Enrico Isamu Letter
"Quick Turn Structure" is a name I invented for the recurrent motifs of my work. Lines which slash back, spin and intercross. Painted surfaces and their volumes. These operations of simple visual objects create a complex body in their minimal and spontaneous expansion; this is QTS. Its tightly-knit structure multiplies by intrinsic order and keeps moving without hardening up. What is driving there is not mathematical procedure, nor random coincidence, but a somatically acquired method. In this way, the sequence of operations that are performed stoically focuses the image at some specific point, and QTS gets to be built up into a work of art -- but then soon afterwards, the next move will start from a different point. As if the art work were just a resting place while it is in motion.
On the other hand, as we know, in the complexity of our highly globalized society with its evolved information technology, working and thinking as an artist is always linkable to various possibilities. QTS also leads my imagination to diverse genres, materials, media, concepts and eventually actualizes a new creation. It sometimes changes its aspects and perspectives when interacting with other artists or other different motifs. QTS itself might be slowly rewritten under these environmental conditions. It is always open to various expressions of interest even though -- or just because -- it certainly is an autonomous figurative element.
Oyama Enrico Isamu Letter
構造体は、どこまで同時に運動体でいられるのだろう。線を引いたり面を塗りつぶすことは、どの程度の緊張感を獲得できるのだろう。そして、一つの「形」は、どういった時に一つの「像」として存在しはじめるのだろうか。
「Quick Turn Structure（急旋回構造）」は、僕が制作に用いるモチーフに与えた言葉だ。描線の切り返し、転回、交錯。面の塗りとボリューム。これらの簡潔なオブジェクトの操作は、ミニマルかつ自己組織的な広がりのなかで複合体＝QTSを描きだす。その緊密に設計された視覚的構造はまた、それ自体に内在するオーダーに従い、増殖し、硬直せずにひたすら運動を持続する。そこで駆動しているのは、数学的な手順でもなくランダムな偶然性でもない、身体化されたメソッドだ。このようにして、ストイックに実行される一連の作業はやがてある地点で像を結び、QTSは作品へと結晶化される――だがすぐに、異なる地点から次の運動が開始されるだろう。まるで作品が、一時の休憩所でしかないかのように。
他方で、誰もが知るように、高度に情報化しグローバル化した現代社会がその複雑性をますます強めていくさなか、制作と思考はあらゆる可能性と隣り合わせだ。QTSもまた、異なるジャンル、素材、メディア、問題系へと想像力を展開し、新たな創作が生まれる。時に異なるアーティストと、時に異なるモチーフと交りあうことで、その表情や視点を変えていく。それらの諸条件によって、QTSというプログラムそのものが、少しずつ書き換えられることもあるかもしれない。それは確かに自律した造形要素であるが、にも関わらず――いや、だからこそ――常に開かれた関心へと自らを晒しているのだ。
大山エンリコイサム
