The light that I caught with Yoshiyuki Takenaka – darkness
A session: From Friday, August 30, 2013 to Sunday, September 15
Time: It is a meeting place (I take a rest on Monday) for from 11:00 to 19:00: Art front desk gallery
The detailed information of this exhibition look at .
In the art front desk gallery, Yoshiyuki Takenaka private exhibition starts “the light that I caught with darkness” on Friday, August 30. Yoshiyuki Takenaka known as the unique style that light and the light shadow which a drop of the resin produces make a layer and cannot bring only by drawing. Now that I passed through approximately ten years after starting work announcement in earnest, I challenged new material. I watched the film for the picture as material by this interview newly and heard how about.
(a listener: art front desk gallery Toshiro Kondo)
Kondo (following K): Please tell me about the opportunity when I have begun to use this new material, film for the picture for.
Takenaka (following T): I worked in the company which developed the film for the picture which I distributed to movie theaters of the whole country since the days of a student. I did not readily put it in the work in the darkroom, but use the safe light which is hard to be exposed to light for hand confirmation in this darkroom. It was good for the edge of the film, and a part said to be “the yellowtail” of this safe light appeared when I worked in a room with a light and let you feel the light that there was in a darkroom of the dead darkness that it could not enter. When it became able to enter the darkroom later, it was an opportunity that I exposed light to the scrap of the film which I collected in a spare time daringly in a darkroom and did drawing and played.
K: When is it?
T: It is ten years ago. It was about time when I had begun to use the resin while doing painting with watercolors in the time of the senior.
K: I wanted to have a work using the technique.
T: I wanted to have more form sometime. The darkroom which developed the film (negative) of the thing which I photographed first was work in the complete darkness, but became in particular more sensitive to light in the world that there was not of the light to become sensitive to a sound in the world that was quiet after I came to enter the perfection darkroom. It was if I wanted to arrest the thing such as the afterimage of the light to remain on the back of a grain and eyelids of the darkness that went from the view when I went back and forth in a darkroom and the room with a light.
K: I was going to make the light that even a work of the resin could not get form.
T: With the work of the resin, presence of itself did the subject matter that there was not much with transparence in a drop of water form and the layer and was going to arrest light and a shadow by repeating it, and giving you a gap.
K: How about with the film for the picture?
T: When the sense that was going to be actualized in the object which it was hard to catch by repeating light as a result of one’s act treated resin with the film, it was the same. On the other hand, it was a new sense that there was a time lag before the result of one’s act appeared. I am careful with “an interval” from all over the production as well as the blank in the work. It was at the time when time and the resin which waited for a picture in watercolors to infiltrate paper stiffened, but was the difference that, as a result, I met when the process to develop a film this time was separated once by an act and forgot it.
K: When I handle light, it is the film which I was going to arrest as a result of resin which I was going to catch by repeating the transparent subject matter and act in the darkness, is there the difference when I do it in form as a work?
T: The point that I am going to gather up as the form that I arrested because the film makes the layer thinks that I put a layer on the verge of the resin three-dimensionally in the same way. However, the film wanted to make the form that I could sense bodily that covered the space more. I produced it until now when I wanted to just arrest the fresh and young sense that seemed to vanish in the often everyday noise including the difference of the light hue of the light to move by a thing and the season such as the afterimage of the light to appear when I closed my eyes in darkness, and to take place of of the sun as a work. I think that such a small expression was possible as “a thing”, but want to express an invisible thing, the thing which seems to disappear in future as space.
K: It may be said that a work of Takenaka is a work taking in neighboring environment in a meaning that light and a shadow are reflected, but future development is a pleasure if I will finally have a relation with the space. Space to catch it to be over there, and not to get, a made “thing” and relationship between the space may become important. A person gets into there and may be going to experience an interval as some works. Thank you today.