《粧》と同様にセットの制作過程と変化を4ヶ月にわたって撮影。それを1枚の写真に凝縮した。17世紀の静物画は様々な季節の果物があたかも同じテーブル上に存在しているかのように描かれている。撮影開始後、途中で枯れてしまったものもそのままに、新たに果物や花を加えながら撮影を続け、様々な季節の花や果物を同一のテーブル上に混在させた。

基になった絵画はコルネリス・デ・ヘーム（1631-95年）の『Flowers and Still Life』。そもそも過剰なこの絵画のテーブルセッティングでは、本来見えているはずの花瓶や食器類は溢れそうな花と果物に埋もれて見えなくなってしまっている。日常の食卓の状況からは逸脱した異様な静物画。強欲の果ての醜悪さと紙一重の過剰な美への素晴らしい欲求。

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Like Guise, this work is a photographic record of the process of set creation and the changes that occurred over four

month, all condensed into a single photograph. During the era in which the still-life paintings I referenced were created, a variety of seasonal fruits were depicted as if they all existed together at the same time. After the start of shooting, I kept the fruits and flowers that withered in the picture while adding new and fresh ones. The result was a mixture of fruits and flowers of different seasons on the same tabletop.

The work is based on the painting Flowers and Still-life by Cornelis de Heem (1631-1695). This painting is clearly a rather excessive setting, in which the ordinarily visible vase or dinner plate is nowhere to be seen, being buried by the overflowing abundance of flowers and fruits. It is an unusual still-life painting that deviates from everyday life. It is an expression of the fine line that exists between ugly greed and an excessive yet wonderful desire for beauty.

Commentary / 作品解説
https://youtu.be/TPkzmgsI3pY

 

Flowers and still-life. Heem, Cornelis de (Dutch, 1631-1695). Oil on canvas, h 53.3 x w 73.8 cm. © The Fitzwilliam Museum, Cambridge.

 

「餐」で使用したオブジェクト　果物と花と器

「餐」のセットの一部。カメラには映るようで映らない世界。撮影側正面は入り口から見た側。撮影時から半年程経過。

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Fruit, flowers and vessels used in Banquet

A part of the set for Banquet. It's about the world of things that could be but isn't picked up by the camera. The front as seen in the work is the side facing the entrance to the room. About half a year has passed since the end of the shoot.

 

 

 installation-view at Hara Contemporary Art Museum, Tokyo  / Photography by Keizo Kioku