It is not uncommon for people to work in similar professions to their relatives. Musicians and athletes are particularly notable, to the point where there is a statistical correlation between the two. As you can imagine, an extremely high number of artists have artists as parents, and the influence of their parents’ work is There are often cases that can be seen.

However, even if the relative is not an artist, they can influence the creation in an indirect way. Sometimes they serve as a motif and a source of inspiration. More often than not, they can be a catalyst for aspiring artists. So much so that the occupation of a close relative is an important part of an artist’s creative process.

In this article, I would like to explore the relationship between the occupations of these relatives and their works by placing them side by side.

Father: Trading company employee

Saori Kanda

When Kanda was a child, he spent time in Baghdad (Iraq) and Dubai (UAE) because of his father’s job as a trading company employee. She grew up in While living in a foreign country, she experienced the beauty of the world and the fascination with Japan.

 She calls herself a “Dancing Painter” and her art performance is based on the idea that she feels and draws the waves of music with her whole body. The body itself becomes a part of the painting and dances across the large screen. The brushstrokes dynamically produced by the artist have a vitality like a living organism, which is born and then destroyed. The cycle is like an ecosystem.

 The works with physical expression are the result of the action paintings of Kazuo Shiraga and Jackson Pollock. It is connected to the genealogy, but it also includes lighting, music, dance, incense, costumes, hair and makeup, stage design, etc. The performance that fills the space is highly regarded as a unique performing art and is a World Heritage Site/Okinawa Nakagusuku Castle Site. In addition, he has also performed a votive dance performance at Tenkawa Daibenzaisha Shrine in Nara and Kibitsuhikohiko Shrine in Okayama, as well as in Taiwan, Shanghai, Hong Kong, and other places. The United States, Switzerland, France, Kazakhstan, India, Myanmar, the Philippines, and other parts of the world. She has been invited to Japan.

 She travels around the world and absorbs the encounters with the people who live there, and her energetic way of releasing her work as a dancer and painter transcends the borders of countries and races, but we can assume that her upbringing is closely related to her original experience.

Click here to see other Kanda’s works.

Father: Blacksmith

Hiroko Tokunaga

 The fact that blacksmithing, a form of “Monozukuri”, had existed in his childhood made Tokunaga’s unique attitude towards creation It seems to have taken shape. When I was in college, I studied oil painting, but there was more to “making things” than “painting”. As a result of exploring the possibilities of his own expression, he found a method of carving out acrylic sheets. She has arrived at this point. Her current work has a contemporary “high” atmosphere, but at the same time it is more than art. In addition, it gives us a sense of a more fundamental act, “Monozukuri”.

 It may be because I know my parents are blacksmiths, but I can’t help but feel that the blacksmiths and Tokunaga’s works and creations are finds common ground. Her work seen from a distance is very modern and neat, and is equally inhospitable and cold even feeling Let them. It is as if it were a newly completed steel product, forged by a blacksmith.

 However, the points and lines that have been cut off give us a different look when viewed up close. They have an amazing delicacy, and yet we can recognize the marks of human workmanship with certainty. The warmth of these works seems to reflect the spirit of “monozukuri,” which is inherent in the family business of blacksmithing, which has been passed down from generation to generation. There is. By looking at the “accumulation” of strokes, the dots and the lines, she is able to see the “accumulation” of strokes that she experienced in college. The sense of transition from art to “making things” and the “connection” of points and lines that have been acquired through the transition. The viewer will “perceive” all kinds of sensations.

Click here to see other Tokunaga’s works.

Sister: Apparel businessman

Shimpei Ishikawa

 Ishikawa’s older sister was a fashion student, so she had fashion magazines around her when she was an adolescent. The models she saw on the runway in magazines were symmetrical. The artistic models must have touched Ishikawa’s heartstrings as an artist. Later, a model-like figure appeared in motifs, and even today, Ishikawa’s interest in models is still high. It is linked to the basis of his work, which is “feel and imagine”.

 The model’s face and body are often covered with clothes, and the model is often made to transform into a form different from the original human body. It is. By the artificial act of putting on clothes, they are transformed into “made” parts, as if they were dolls. However, the legs used to walk down the runway are a part of the original human form, so to speak, “made or unmade”. The coexistence of these two elements shakes the viewer’s vague but vivid sense of “feeling and imagining”. The coexistence of these two parts shakes the viewer’s vague but vivid sense of “feeling and imagining”. Because there is a “made” part, there is a kind of blank space in the “made or unknown” part which is not In this way, we, who look at the model, are encouraged to use our imagination.

 Ishikawa reproduces exactly the same thing in his works. The artificially manipulated form of the work and the unconscious image of the viewer coexist and interact with each other. His works, which are completed by doing, are, by their nature, like a process of creation. He works under the assumption that there is a person inside, and he intentionally leaves room for the viewer’s imagination. They are holding their hands. The viewer is consciously aware of the “made” part of the work with hands and the “made or unknown” part of the work without hands. The interactional relationship with the work is bound up in the back and forth in Not only that, but it will make you reconsider what consciousness is.

For Ishikawa, the act of carving a person out of a block of wood and the structure of a clothed person are natural elements in his work. It’s a knot, a seemingly strange act for us. However, the mental function of “feeling and creating” is a part of our daily life, whether we are fashion models or There may be unexpectedly lurking in

Click here to see other Ishikawa’s works.


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