With an interest in the computer graphics used in games and movies, and experience building theme park sets, I have been influenced by the virtual experiences gained from “fabricated things,” and make what at first glance are actual materials, but in fact, right down to their very thickness, are paintings made entirely from pigment, or medium.

The viewing experience, which drifts ambiguously between images without mass, and objects, resembles the theme of my practice: the conflict between “being there, and not.” In recent years this has manifested in the making of very large works with motifs like walls and doors that modify the gallery space itself into a fabricated space.

Understanding of, and conflict with, both things existing, and things that ought not to exist, manifests in the form of works.

The “trace/dimension” series of works takes as its motifs floor and wall, in other words horizontal and vertical. These are arranged and displayed in a single plane, forming images in which the likes of gravity and texture appear to have malfunctioned.

For the work Heaven’s Door, I made a set of double doors from paint, and then attacked them with an ax, breaking the realistically painted surface to expose the color underneath, turning the way the desire and violence of wanting to go “to the other side” distorts and abstracts the surface, into a work in its own right.

Keisuke Tada 202010/30

trace / dimension という作品シリーズは、床と壁、つまり水平と垂直をモチーフにしている。それらが一つの画面の中で並列となり、展示されることで、重力やテクスチャがバグったイメージを作りだしている。
また、Heven’s Doorという作品は、絵の具で門扉を制作し、それを斧で攻撃していくと、リアルに描かれた表層が砕かれ、内部の色が露出していく。"あちら側"へ行きたいという欲望と暴力が、表層を歪め抽象化していく様を作品化した。


多田圭佑 2020/10/30