風景、それが絵画となると、私たちはいわゆる風景画を想像しがちだ。ポータブルな異空間で、どこに展示されても描かれた景色が変わらないもの。

しかし千原は、展示場所 そのものから「風景」を描き出す。《風景L》では、白い壁を木製パネルの上に取り出し、めくったり切ったり、その所作の跡や陰影の変化も拾いながら、2 枚を渡らせて再配置した。L はLine を表すらしく、直線の切り取りや塗料の厚みの輪郭、また画面の並列を思わせる。千原は再配置の手法をコラージュと定義するが、本作では、細かな画面上の 要素より、取り出した壁を会場の壁にコラージュする行為に強く意味が表れる。口下手に「絵画とそうでないものの境界を探る」と説明される制作は、その境界を明確にするも のではない。複数の画面と壁を渡るコラージュで曖昧にした境界上( これもLineか) に同空間としての絵画が成り立つか手探りする時間を指す。それは、行き来した時空間の 記憶を「風景」と名付け、壁に戻す手業で絵画という景色に化かす企みである。

-国立西洋美術館 研究員 　秋田美緖

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When a landscape becomes a painting, we tend to imagine a so-called landscape painting. It is a portable space in which the significance of the depicted scene does not change wherever it is displayed. However, in Chihara’ s case, she depicts a “landscape” from the location in which it is exhibited. In Landscape L, a white wall is removed onto wooden panels. The tears, cuts, and even traces of such conducts and changes in the shading are gathered and rearranged on two panels. L stands for Line and alludes to the linear cutting, contours of the thickness of the paint, and the way the two panels are arranged in a line. Chihara defines this method of rearrangement as collage, but in this work, rather than the details of the elements on the panels, the significance lies in the act of collaging the extracted wall on the gallery wall. Chihara inarticulately explains that she is “exploring the border between painting and non-painting,” but that border is not made clear. She is referring to the time spent groping to see if a painting can exist on the border(which may also be a Line) made obscure by collaging the two panels and wall as the same space. That is to say, Chihara calls memories of the space-time she has traversed back and forth a “landscape” and tries to turn it into a landscape called a painting byreturning it by means of handwork to the wall.

-Akita Mio　Associate Educator The National Museum of Western Art