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Profound Silence  深い静寂
小曽川瑠那《深い静寂》2020年、富山市ガラス美術館蔵、撮影_末正真礼生_edited.jpg

“Microcosmos: experimenting with new kinds of interaction” Toyama Glass Art Museum, Japan 

Profound Silence 

Size/ D220×W220×H33.4 cm​

「ミクロコスモス:あらたな交流のこころみ」展示風景、富山市ガラス美術館

富山市ガラス美術館蔵

photo credit/ Mareo Suemasa 末正真礼生

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As an artist I experienced an important change in 2012 when I moved to Hida-Takayama which is rich in natural beauty.  Previously I had always lived in urban residential areas where I never felt emotional connections to place.  As I started my new life in Hida-Takayama I began to understand for the first time the deep connection people have to the place where they live...the sense of belonging.  I also began to understand the grief and pain people felt when they were forced to leave their land and when they were separated from loved ones.  Since that time I have been focusing on the conflicts and contradictions in our societies and also on the importance of passing on the stories of war and environmental problems to future generations.  That is why I am now working on a new theme--enquiring about the value of our lives--for which I am using black colored glass.

2014年より取り組んでいる《深い静寂》は、2011年の東日本大震災と翌年の飛騨高山への移住を機に、命の問いをテーマに掲げた作品である。

高齢化や医療崩壊、慣習の風化など地方の社会問題と向き合うなかで、市井の人々の命や記憶、その土地の慣習、戦争や公害問題を紡いでいく重要性に気づいたからだ。

ガラスを「儚い命と記憶を保管する素材」と捉え、鎮魂(手向け)を意味するトルコギキョウ・ユリ・キクをモチーフにした黒い花々を制作している。

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Material/ Glass

Technique/ Lampwork, Coldwork (carving, polishing)

Size/ D13×W17×H13.5 cm

​Year/ 2015-

Public Collecition/ Glass Museum Lette, Germany  / Private Collections

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Material/ Glass

Technique/ Lampwork, Coldwork (carving, polishing)

Size/ D10.5×W11.0×H9.0 cm

​Year/2018

Private Collection

photo credit/ Kichiro Okamura

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