VOCA 2007（推薦文：降旗千賀子）

常に「絵画」という言葉を意識しつつも、あえて四角い木枠とそこに貼られる白いカンヴァスを使わない黒嶋亮子は、学生時代、この物質的な要素に果敢に向き合い自問自答しながら制作を続けてきた。作家と絵画表現の間に屹立する支持体について20世紀美術における問題をここで持ちだすこともないが、育った環境が東向島の寺であるという黒嶋は、その内部に飾られた掛軸や巻子に描かれた絵に慣れ親しみ、それこそ自分が対峙してい見る身体的な「絵画」の原風景であることを語っている。展示、収納の機能を具えた日本の絵画は、さらに同時異図、異時同図などの表現方法をも持っていて、制作と鑑賞が「時間の推移」とともに成り立つというユニークな関係がかつては成立していた。黒嶋は自分の表現を、絵画空間としてこの形態と仕組みに託している。「光」と題された今回の作品は、日常的な自分自身の精神的なリズムとバランスを、ロール状の薄い布にひたすら流れるように描き綴ってきたものである。毎年、春になると気持ちが掻きたてられるという、墨東の土手に狂おしく咲く桜から放出されるエネルギーを背負いながら描いてきた花々は異時同図としての黒嶋自身であるようだ。自らの「気配」と「時間」を描き出し、それをレイヤーとして空間に浮遊させる作品として完成させている。あえてこうした表現と描き方に挑む、作家のまだ未知なる流れの中で光るキラリとした部分に期待をよせている。

「VOCA 2007」/ 展覧会カタログ / 降旗千賀子（目黒区美術館学芸員）［推薦文］ p38 / 2007年

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VOCA 2007 (Recommendation : FURIHATA Chikako)

kuroshima always retains an awareness of the word "painting" but deliberately avoids using a white canvas attached to rectangular stretcher bars. During her studentyears, she boldly confronted these physical elements and continued to question herself while making art. I do not intend to discuss here the issue of the support that stood between the artist and artistic expression in twentieth century art, but it is significant that Kuroshima, who was raised in a Buddhist temple in Mukojima, became familiar with painting in the from of hanging scrolls or hand scrolls which were used to decorate the temple. She tells of a primal experience of painting as physical objects that she had to engage wiht white looking at the imagery. These kinds of Japanese paintings, designed for ease of display and storage, are also characterized by compositions in which different parts of a narrative are shown simultaneously or similar parts appear separately at different times. The imagery is presented in unique relationships, in which both making and observing take place through "temporal displacement." Kuroshima uses these formats and mechanisms as the pictorial space of her own art. The work shown here, titled Light, depicts the flowing, spiritual rhythm and balance of the artist's everyday world on a roll of thin cloth. She reports that her emotions are stirred in spring every year by the luxuriant cherry blossoms on the east bank of the Sumida River. The flowers that she paints with the energy absorbed from these cherry blossoms are embodiments of the artist, a similar image appearing at different times. She paints her own sense of presence and time, which floats like a stratum in space in the completed painting. I have great expectations of this artist, who has chosen a unique from of painting and artistic expression, and look forward to seeing the bright, shining images, as yet unknown to her, that will emerge in the flow of her work.

「VOCA 2007」/ Exhibition catalog / FURIHATA Chikako (Curator, Meguro Museum of Art, Tokyo) [Recommendation] p38 / 2007

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