Iwasaki – ‘Vederlicht’

Vederlicht

 

(bij het werk van Hideo Iwasaki)

 

 

 

 Chris den Engelsman

Buiten slaat de zonnewijzer twee uur en

 

waakt de Moorse koning over het Dollenhuis

 

binnen beschermt de engel van Nazareth

 

het kwetsbare papier ‘Metamorphorest in the dark’

 

 

In het lichtprogramma, met de hand geknipt en

 

gesneden, met de computer geprojecteerd en

 

uitgelicht en vervolgens weer gespiegeld komt het
papier tot leven, traditie en moderniteit versmelten

 

Gesneden organische vormen vederlicht en

 

aaibaar nemen bezit van het schemerdonker

 

vlijmscherpe uitsneden in zwart papier

 

Schaduwbeelden, lichtvlekken, microbacteriën

 

begraven zich in mijn ingewanden

 

de wereld zien in een druppelwater.

Hideo Iwasaki (Tokyo 1971)

 

Zelf zegt Iwasaki het volgende over zijn werk:

 

“I have created paper cut since I was 7 years old, at which time I first met Chinese paper cut works. For me, paper cut is distinguishable from other flat painting categories like drawing, printing, and woodcut and so on with some characteristics. For example, it can be seen even if you turn the paper over. So, in my opinion, this three-dimensional nature and the feeling of freedom must be taken into consideration for creating paper cut. Actually, its texture and fragility are very important factors in paper cutting.

 

My working principle is to pursue the paper cut’s own characteristics per se, without any other factors (such as colour or concrete design), and to show abstract composition which consists of many unrelated small patches of image –as if a series of modern ballet performances. Therefore, I do not prepare any sketch or outlines with pens to avoid material-dependent effects, but perform drawing with knife from the beginning as improvisation. Moreover, I deny fixing a piece of paper to a flat mount and setting any directions to see in my work pieces. Recently I am extending this idea to creating combination of several pieces of paper cut as ‘three-dimensional paper cut installation’. They should be more flexible, variable, stereoscopic, dynamic and vivid!

 

I am working as both artist and biologist. Thus, my art-related activities also include studies on expression of life in contemporary arts as well as an attempt to possibility of ‘bio arts, bio media art, or biomaterial art’.

 

Although I have not attempted to include scientific motifs and thoughts into my paper cutting, I started combining the paper cuts and bio media to perform hybrid installations.”