■KYOTO ANTIQUE FAIR
Masterpieces of Art & Design
Date : 2025.3.28 - 30
Venue : KYOTO PULSE PLAZA
Precious designer furniture was exhibited as a collaboration project between Swanky Systems, which deals in vintage furniture, and Yumekoubou Gallery on this Exhibition.
What people want from furniture... comfort, beautiful design, uniqueness, etc. Designers at that time found unique value in the production of furniture, which is an extension of architecture, and expressed it with high production techniques. There is nothing unnecessary or missing in the carefully designed pieces, and the shapes exist as complete forms. All the furniture exhibited this time was completely original, and was full of dignity and presence that is not found in mass-produced products that can be purchased cheaply. Standing in front of furniture with a solid concept made me think about what we should value. It was also an opportunity to reconsider the problems facing modern consumer society. The wonderful thing about beautiful vintage furniture is that it will never fade as long as the user takes good care of it.
ヴィンテージ家具を取り扱う Swanky Systems と夢工房ギャラリーのコラボレーション企画として、貴重なデザイナーズ家具を展示致しました。
人が家具に求めるものとは、、、快適であること、美しい造形、ユニークさなど、当時のデザイナーは建築の延長線上にある家具の制作に独自の価値を見出し、それを高い制作技術で表現していきました。こだわり抜かれたデザインに無駄なものはなく、また足りないものもなく、その造形は完成形として存在します。今回展示した家具はすべて完全オリジナル作品であり、安価に手に入る量産品にはない、品格と存在感に満ちていました。しっかりとしたコンセプトを持った家具を前にして、私たちが大切にするべきものは何なのかを考えさせられました。現代の消費社会が直面している問題をも見つめ直す機会でもありました。美しいヴィンテージ家具の素晴らしさは、使い手がそれを大切に扱うかぎり色褪せないものだということでしょう。
■ ART FAIR TOKYO
TANABE CHIKUUNSAI Ⅳ EXHIBITION
「共生」Symbiosis
Date : 2025.3.7-9
Venue : Tokyo International Forum Hall E
Bamboo and soil support each other and coexist.
Bamboo takes root in the soil and grows by obtaining nutrients from the soil.
Bamboo also takes root to fix the soil, preventing erosion and protecting the soil.
Bamboo and soil exist while influencing each other, and exist in harmony.
The "Symbiosis" series, which combines bamboo and soil, uses a traditional Japanese architectural technique called Takekomai.
In this exhibition, new works will be presented as new art pieces using the traditional bamboo and soil techniques that are now being lost.
竹と土は、両者が互いに支え合い、共存している
竹は土壌に根を張り、土壌から栄養を得ることで成長する
また竹は根を張り土壌を固定し、浸食を防ぎながら土壌を保護する
竹と土は、相互に影響を与え合いながら存在し、その調和で成り立っている
竹と土を融合させた作品「共生」シリーズは
竹小舞（たけこまい）と呼ばれる伝統的な日本の建築技法を使用している
今展覧会では現在失われつつある竹と土の伝統技法を用い、
新しいアート作品として新作を発表する
■ ART SG
FURUTANI KAZUYA SOLO EXHIBITION
Date : 2025.1.17 - 19
Venue : Marina Bay Sands Expo and Convention Centre
Beyond the Shape
Furutani Kazuya is a ceramic artist of Shigaraki in Shiga.
Usually he makes jars, cups, and vases with its perfect shapes. However his works “Yaburetsubo” are all broken; Furutani raises the temperature over 1,300 degree (Celsius) to break the jars. Some are cracked, and others are broken into fragments. So, even Tsubo (Jar) is technically used to contain things, Yaburetsubo can’t be used in this way. But Furutani says “When the jar is broken, there arose a lot of lines and shapes, which are made by cracks and fragments. It is caused by the power of fire, beyond my control, so broken jars are beautiful”.
His works show us strong impression and beauty beyond shape. And its broken shapes blur the boundary of crafts and art.
Shigaraki Ware with a Rich History
Among the various forms of Shigaraki ware, the Shigaraki Jar is a particularly cherished and unique creation that is loved worldwide.
I have expressed the symbol of its history and culture through the form of "Bocken Jar."
I have constructed anagama kilns in which I fire my pieces at 1300°C. The ash from the red pine fuel falls on the pieces, forming a natural glaze and covering their surface with beautiful landscapes. At times, the clay, unable to endure the extreme heat, is torn apart, and the jars are reborn in the kiln as a "new form" that no longer functions as a jar.
In these moments, the clay and the flames confront each other, and the strength of nature cannot be controlled by human hands, which manifests within the work.
For this series for the exhibitions, I also focused on creating pieces that could endure the flames without easily breaking. Even so, after continuously firing in temperatures exceeding 1350°C, the jar exceeded its limit, and the "evidence of the confrontation between clay and fire" is permanently marked on the pieces.
In this way, a new form of art was born — a "breathtaking beauty" that transcends the traditions of Shigaraki ware.
Kazuya Furuya
古き歴史を持つ信楽焼
その中で信楽壷は、世界で愛される特別な存在です。
その歴史と文化の象徴を「破れ壷」という形で表現いたしました。
私は、自ら築窯した穴窯を使い1300度の炎の中で作品を焼き上げます。
燃料となる赤松の灰が作品に降り注ぎ自然釉の衣をまとい景色となります。
また、時として高温の炎に耐えかねた土が引き裂かれ、壷としての用を満たさない「形」として壷が生まれ変わります。
そこには、土と炎が対峙し、人の手では成しえない炎の力、自然の力強さが表れます。
今回、炎に耐える(簡単には破れない)作品作りにもこだわりました。
それでも、1350度を超える炎の中焼き続け、壷が炎に耐える限界を超えることで「土と炎が対峙した証」を作品に焼きつけました。
そこには、信楽焼きの伝統を打ち破る、まさに「破格の美」新たなアートが生み出されました。
古谷和也
