Artist Story
metal
Taro Kawano
I create works with the theme of "forest". The production uses a "metal casting" technique in which molten metal poured into a mold. Among them, I use "lost-wax casting" that replaces wax with metal (when a original form is made from wax, covered with a refractory and fired, voids in the shape of the original form are created, and metal is poured into the voids. ). The production process goes through the process of [wax original form → molding → firing → casting → finishing → coloring] and reaches completion.
artwork "An outline of the light"
In every process, I'm always aware that the work is in a state of being in harmony with nature(A state that does not pursue rationality too much). For example, in [wax original form], I enjoy creating discover the shape without first deciding the finished shape. In [Molding], I often dare to select a primitive mold making method using clay and sand, and in [Coloring], I emphasize that the color is rusted without using paint. It is cruelly betrayed if try to manipulate the technique freely, and can get a lot of help if face each other with the voice of each material, that is, I can feel the way and relationship between people and nature. However, I think it is the greatest attraction of this technique. It feels like we are being taught every day that there is no intention in nature, that a certain state is just floating, and that we are just excusing in it.
production process "wax pattern"
"molding"
"casting"
artwork "Form of the forest"
Perhaps because I was born and raised in Mie Prefecture, where there are many sacred forests (forests) represented by Ise Jingu, when I come into contact with the forest, I always have irreplaceable comfort and irreplaceable fear at the same time. I can't see the forest with a single emotion. Also, when considering the relationship between metal casting and forests, despite the fact that metal casting techniques have a history of expelling forests as a member of metal civilization, [the various movements/color/leaves are shining brightly of actual forests] resonate with [Characteristics of wax original form/rust(Rokusho)/metallic luster]. They will appeal to me. I have a feeling that these conflicting positive and negative emotions give people and things something that "certainly exists", and I may be continuing production because I do not want to forget this feeling.
I aim for the "forest" that I create to become a process rather than a result of thinking. The reason for this is that it is the artist's job to thoroughly think about what is considered meaningless and what cannot be helped, and to shape the process. A work that resembles a constant activity in which trees grow and expand, sometimes return to the soil, and are born again. It also seems to be interacting with the people who created things like prayer long before the words Art and Craft were born.
That prayer may be a terribly inefficient act, but now that we are receiving more and more immediate information every day, I want continue to create a "forest" where you can touch and confirm the existence of things.
From the owner
We have known each other since the opening of our shop. He was the first to accept our offer to display art works.
Recalling the first time we met, his smile felt like the warmth of a sunshine in a forest. His works appear different when seen in light/shadow. We may be able to receive a different message from either way. Some may feel energy, while others feel motions like fire or wind. Some may even feel a sense of stability.
We'd love for everyone to experience it for themselves.
ArtShop Tsukibae Owner,
Mayumi Miyanaga