In Between the Rain and the Sun 
雨と陽のはざまに
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Material/ Glass

Technique/ Kilnwork, Coldwork

Size/ D44×W41×H42 cm

​Year/ 2018

In pursuing the question “Why do I continue to live here?” I felt I had to understand the people’s history and their deep
connection with the land, so I spent three years building up my stock of knowledge. Concretely, this meant photographing
Toyama prefectural landscapes associated with the Itai-itai (“it hurts-it hurts”) disease (displayed at Kurobe City Art Museum)
and working on a farm (2015), taking a Gifu University course Inochi to kyoiku no hanashi (“Discussing Life and Education”)
and visiting Niigata Minamata Disease Museum (2016), visiting the Nagasaki Atomic Bomb Museum (2017), and doing various 31 reading (war, pollution, politics, aid and relief activities, novels), etc.

Amid this endeavor, I encountered the book Kono Sekai no Katasumi de (“A Corner of the World; Tomoe Yamashiro, ed.), which records the hard lives of atomic bomb victims and the lives, lled with dignity and courage, of survivors enduring the aftereffects. In Between the Rain and the Sun arose from my desire for a world where everyone is illuminated by sunlight no matter where they are.

「なぜここに住み続けるのだろうか」という疑問から、2015年より土地と人々の結びつきや歴史のリサーチを開始。

具体的にはイタイイタイ病の歴史を抱える富山県内の風景撮影 (黒部市美術館で展示, 2015)、農家で働く(2015)、岐阜大学「いのちと教育の話」受講(2016)、新潟水俣病資料館訪問(2016)、長崎原爆資料館訪問(2017)、読書(戦争、公害、政治、支援活動、小説)他。

 

リサーチを重ねる中で、被爆者の困難な暮らしや後遺症に苦しみながらも逞しく生きる人々の生活が書き記された《この世界の片隅で(山代 巴編)》に出会い、どこにいても光があたる世の中であってほしいとの思いから、光を求める制作を始めた。

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Material/ Neodymium Glass

    (Lavender color under the sun, Blue-gray color under the fluorescent light)

Technique/ Lampwork, Coldwork

Size/ D8.5×W9.5×H9 cm

​Year/ 2020​

光によって変色するネオジウムガラスを使用。

太陽光の下:ラベンダー色

蛍光灯の下:​ブルーグレー色

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Material/ Neodymium Glass

Technique/ Lampwork, Coldwork

Size/ D13×W22×H10.7 cm

​​Year/ 2019