自然と健やかさ
Nature & Health
東洋の伝統文化
Traditional Culture of the East
社会課題
Social Issues
芸術と文化
Art & Culture
I’M POSSIBLE
上海と北京にて、日本のデザイナー11人と1組によるグループ展「I’M POSSIBLE」が開催され、過去の仕事が展示されました。展覧会告知にも使用されるポスターの制作も依頼され、新たにデザインしました。
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Concept :
デザインを通した海外との交流が続いたことで、自分の中に無意識に宿る“日本人らしさ”を探す機会が多くなりました。小学校では墨と筆を使って書道を習い、夏祭りには色とりどりの浴衣を着て友達と遊びに出かけ、日本語の音楽をいつも聴いてきた。曖昧さを表現するのが得意な言語に触れ続けたことの影響は特に色濃くて、少しずつ染み込んできたものたちが、容姿とは別の次元でわたしを「日本人」に見せているのかもしれない、と思うようになりました。
自分の中の「日本人らしさ」が明らかになるほど、相反するように、「日本人らしくない」自分が具体的になっていく。仕事では言いたいことは出来るだけはっきり言う。組織の中で行動するのが苦手。ご飯よりもパンが好き。
その複雑さこそが自分のアイデンティティであり、その先に自分だけの可能性があるのだと思う。行儀良く収めた構図と豪快な形選び、繊細に選び抜いたラインと無作為な筆跡、強い色ベタと淡いグラデーション。一枚のポスターに様々なコントラストを詰め込みました。
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I’M POSSIBLE :
古い旅館に置いてある、ベテランの職人が作った無骨な花器のイメージがあった。大きな手で握ったような。いけられた花の生気を吸い取ってしまうほどたくましい。それ以外は何も決めずに、筆を墨に浸して、自分の中でピンとくる形を探し始めました。描き上げた中から、気に入らないほど変だなと思う形を選び出して、どんな釉薬を使ったら、どんな草花を添えたら、自分の部屋に置いてもいいと思えるか考えながら、デザインをしていきました。
「気に入らない」「似合わない」が確実にスタート地点にある時、それらを退けずにどう魅力的に出来るか模索した先に、自分でも思ってもいなかったところに着地することがある。すごく苦しい作業だけど、可能性を広げなければいけない時にいつも取る手法です。
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D : 清水彩香
Print : 株式会社山田写真製版所
CL : At Design Co., Ltd
I’M POSSIBLE
The group exhibition “I’M POSSIBLE” was held in Shanghai and Beijing by a group of 11 Japanese designers, where selections from their bodies of work were put on display. They were also asked to provide a poster to announce and advertise the exhibition, for which they designed an original offering.
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Concept:
My experiences interacting with people in foreign countries through design work provided me with increased opportunities to reflect on “what it means to be Japanese”, a feeling that had always dwelled within me on something of an unconscious level. In elementary school I learned calligraphy with ink and brush, at summer festivals I wore colorful yukata and went out playing with my friends, and I always listened to Japanese music. Speaking a language so adept at expressing ambiguity as Japanese has quite a strong influence too, I think, perhaps permeating gradually into me in ways that make look “Japanese” in aspects separate from appearance alone.
The more that my “Japanese” side becomes clear to me, the more, through opposition, I am able to become concretely aware of the side of me that is “not Japanese.” When at work, I think you should say what you want to say as clearly as possible. I’m not very good at playing the game you need to play within big organizations. And I like bread better than rice.
Such complexity forms the basis of my identity and it is in that direction that my greatest potential lies. I have incorporated a variety of contrasts into my poster: well-ordered composition with dynamic shape selection, delicately chosen lines with scrawled handwriting, strong solid colors with pale gradations.
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I’M POSSIBLE:
I had the image of a roughly-hewn vase from a master craftsman situated in an old traditional Japanese ryokan (inn) that gives the impression of a large hand holding something, strong enough to absorb vitality from withered flowers. Without another thought, I dipped my brush into the ink and began searching for the shape within my mind. From this sketches, I selected a shape almost strange enough to make me dislike it, then thought about what kind of glaze would be used and what kind of flowers should be added, all the while thinking as if I could place it in my room. That’s where my design came from.
When I define “something I don’t quite like” or “something that isn’t quite suitable” as my starting point, I sometimes end up in a place I’d never previously considered in my quest to make such things attractive without completely rejecting them. It’s a difficult way to do things but it is a technique I always use in order to expand the possibilities of my design work.
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D : Ayaka Shimizu
Print : YAMADA PHOTO PROCESS CO.,LTD
CL : At Design Co., Ltd