Installation
Deconstruction of painting
In Jacques Derrida(1930 - 2004)'s "Déconstruction" , the notion of deconstruction shifts focus from destructive dismantling to a reevaluation of the existence of binary oppositions through the lens of deconstruction. In Hagino's work titled "Deconstruction of Painting," this approach is applied, attempting to deconstruct the relationship between painting and human perception.
フランスの哲学者Jacques Derrida（ 1930 - 2004）の『Déconstruction』では、破壊的な解体ではなく、脱構築という考え方で二項対立する存在の在り方を見つめ直した。萩野の作品『Deconstution of painting』では、デリダの考え方を応用し、絵画と人の関係性を脱構築することを試みた作品である。
CREATION OF THE WINDS WITH THEIR COLORS
12 artificial flowers, dirt
H100 xΦ200 cm
2024
This artwork reflects an exploration of the meanings of colors as perceived by individuals within different cultural contexts and influences. Subjective perception encompasses various factors such as knowledge, preconceptions, and memories, all of which are intertwined with factors like education and culture. Thus, the significance of color in painting cannot disregard the differences in color perception among viewers' subjective perceptions.
Hagino draws inspiration from the religious beliefs of the Celtic people of Ireland. The poem from the 10th century, "CREATION OF THE WINDS WITH THEIR COLORS," derived from Celtic polytheism, depicts gods assigning colors to the winds blowing from the twelve directions. This concept resonates with synesthesia, suggesting that the Celtic people might have perceived colored winds.
Through this artwork, Hagino expresses the idea that each individual perceives colors differently and imbues them with subjective meanings, including cultural influences.
この作品は、文化やその影響下の人それぞれが認識する色の意味を考察されたもの。主観的知覚とは、知識、先入観、記憶など様々な要素が絡んでくるが、教養や文化なども影響する。つまり絵画に重要な色彩というものは、鑑賞者の主観的知覚における色の認識の差を無視することはできない。
萩野はアイルランドのケルト民族の宗教から着想を得た。多神教で自然信仰が強いケルト宗教の中で伝わっていた10世紀頃の詩、『CREATION OF THE WINDS WITH THEIR COLORS』には、神が12方角から吹くそれぞれの風に色を付けたという内容が書かれている。共感覚のように、信仰を通してケルト民族は色の付いた風を見ていたのであろう。
この作品を通して萩野は、人それぞれ見ている色が違うこと、そしてそれぞれ色に、宗教や文化などをはじめとする主観的な意味を付与して知覚していることを表現している。
Deconstruction of painting
Materials (Wood, Hemp, Glue, Charcoal, Painting oil, Pigments) in glass
H20 xΦ2 cm x 10 pieces
2024
In Jacques Derrida(1930 - 2004)'s "Déconstruction" , the notion of deconstruction shifts focus from destructive dismantling to a reevaluation of the existence of binary oppositions through the lens of deconstruction. In Hagino's work titled "Deconstruction of Painting," this approach is applied, attempting to deconstruct the relationship between painting and human perception.
This endeavor begins with unraveling the already constructed concept of "what painting is" and proceeds towards deconstruction. The elemental components constituting a painting, when reduced to their simplest forms, entail applying pigments onto a support surface. These include materials such as wood for framing, linen for canvas, animal glue for priming, charcoal for sketching, painting oil for dilution of oil paints, and pigments representing elemental colors: cyan, magenta, yellow, black, and white. These ten components collectively shape the foundational essence of a painting. The arrangement of these materials within test tubes echoes works like René Magritte's "The Treachery of Images" (1929) and Joseph Kosuth's "One and Three Chairs"（1965) thus engaging in a renewed examination of the relationship between the object of painting and the perceptions of humanity.
フランスの哲学者Jacques Derrida（ 1930 - 2004）の『Déconstruction』では、破壊的な解体ではなく、脱構築という考え方で二項対立する存在の在り方を見つめ直した。萩野の作品『Deconstution of painting』では、デリダの考え方を応用し、絵画と人の関係性を脱構築することを試みた作品である。これは「絵画とは何か」というすでに構築された概念を紐ほどき、脱構築することから始まる。絵画を構成する要素は、簡素化した要素だけを抽出した場合、支持体の上に顔料を乗せたものである。木枠を作っている木材、キャンバスの麻、キャンバスの下地を作る牛膠、下書きとして使われる木炭、油絵の具を溶くためのペインティングオイル。色を元素でもあるシアン、マゼンダ、イエロー、ブラック、そして白のピグメント。この10種類が、基本的な絵画を形作っているものだ。これらのマテリアルをそれぞれ試験管に入れ並べた作品である。
これはルネ・マグリッドの『The Treachery of Images』(1929)や、ジョセフ・コスースの『One and Three Chairs』 のように、絵画という物体と、人間が知覚しているものの関係性を改めて考察している作品と言える。
Dimensions
Ink on paper (Hand-printed) in smoked glass frame.
40.5 x 31.5 cm (in frame)
2024
As Hagino reexamined the relationship between subjective human perception and painting through deconstruction, they became interested in the exchange of information occurring between two-dimensional and three-dimensional dimensions. Whether in still life or landscape paintings, artists depict the three-dimensional world on a two-dimensional plane, and viewers reconstruct the three-dimensional world in their minds as they observe it. Hagino attempted to materialize the information exchange occurring in the triangular relationship between the painting, the artist, and the viewer during the process of "compression and resolution." To deconstruct the composition of two-dimensional and three-dimensional elements, they attempted simplification.
The prints, hand-printed on paper, are mostly unfolded cubes made from packaging material. When seen as the most simple three-dimensional objects, the unfolding diagram of the paper cube represents the most basic forms of both three-dimensional and two-dimensional dimensions.
By placing these prints in glass frames covered with smoked film, Hagino creates an affinity with their main painting technique using wax, wax, and silicon, further leading viewers to contemplate what is depicted in the artwork.
Although it appears to be just unfolded boxes, once viewers recognize them as boxes, they mentally reconstruct them, completing the correct exchange of information. Essentially, this presents a simplified system of information exchange between the artist, painting, and viewer.
