■Lying hill ─ 乳化庭


lieという単語には「欺く」と「横になる」という二つの意味がある。巨大なガラス箱を透過した光のもとで、 フェイクファーに覆われた心地よい斜面に寝そべると、ここを閉込めた写像の球体群と現在という光の「乳化」が見てとれる。

Entranceに接して、ガラスホールの軸線に合わせるように、敷地の軸から北側に4度ずらして「Lying hill 」が 位置する。動物の毛に似せて作られたフェイクファーが敷かれた丘では、心地よく横になりながら、目前に広がる「乳化庭」とガラスホールの二重構造、あるいは「全体」という概念を得るために必要な、視座の虚構性と対峙するすることになる。
「乳化庭」とは、石庭のごとく球体写真が配置される領域。ガラス球の内側に写真乳剤を塗り、外側は遮光し、針穴の開いた板が取り付ける。これによりガラス球はフィルムとカメラの2つの機能を備えた球体写真カメラとなる。このカメラをガラスロビーに持込み、約40箇所の異なる視点から撮影する。球体写真は、人の眼球とほぼ同じ画角である上下左右180度の被写界を定着させることができる。カメラからの視線は、ガラス球に閉込められた空間と現実が相似形の関係でたたずんでいる。

←Back      Plates→

■Lying hill − Garden of Emulsification

Adjoining “Entrance” is the work “Lying hill,” positioned so that it is four degrees to the northeast of the axis of the Lobby Gallery, as if to conform with the axis of the Glass Hall Building. On “Lying hill,” which is covered with fake fur made to imitate animal fur, viewers can lie down comfortably and face the dual structure and feel as if they are inside the work “Garden of Emulsification” as well as in the Glass Hall, both of which are within the viewers’ field of vision. Viewers are also placed in a situation where they can consider the fabricated nature of vision, essential to understanding the concept of “the entirety.” “Garden of Emulsification” is installed in a zone in which spherical photos are arranged as in a stone garden. To create these works, emulsion was applied to the interior of glass balls, while the exteriors were shielded. Boards with single pinholes were then attached to these spherical photographic cameras, acting both as film and camera. The balls were then carried inobby Gallery and photographed from about forty different perspectives. The spherical photos can fix the field of 180-degree vision
in all directions, which is close to the range of human eyes. Therefore, the actual scenes, as seen through the lenses of these cameras, are similar to those scenes confined inside the space of the glass balls.

←Back      Plates→