Ryuji Nakamura and Associates

Relationship between space, painting, and textile

This exhibition is a collaboration between three artists from different genres: an architect, an artist, and a textile designer. The theme of the project, planned by Taro Igarashi, was to create an exhibition space where artists Sayaka Hanabusa's paintings could be viewed (including fabrics by Yoko Ando and furniture by myself). First, I proposed the space. In order to avoid it becoming just a group exhibition, I thought it would be possible to create a space where three people could encroach on each other's territory and create a relationship that wouldn't exist even if one person was missing. Therefore, I thought that creating a space with walls would push the works away from each other, so I proposed a space with thin bulging pillars (entasis pillars). Although it is more difficult to display paintings than in a wall-based space, I was hopeful that Hanabusa would come up with some interesting ideas. Hanabusa created a spatial work that appears to be floating among a group of pillars by dividing a painting into five parts and wrapping each piece around a pillar. The paintings wrap around the back of the pillars, so they are not completely connected, creating a spatial and temporal experience in which the viewer gradually feels each painting while complementing it in their mind, rather than looking at the paintings. On the other hand, the problem arose of how to make the pillar stand up on its own in a place where screws cannot be driven. Therefore, we came up with the idea of inserting a cushion between the pillar and the ceiling to use the repulsion and friction to prevent the pillar from falling over, and asked Ando to design the cushion. Ando combined multiple materials to create a work that absorbs the unevenness of the ceiling while creating just the right amount of friction, creating a work that looks like a cute ball of algae and expands the possibilities of textiles. The furniture was made using entasis columns, and the design suggested the reuse of the columns. The table and stools were designed by me, and the building blocks were designed by Natsumi Aso of Okamura. In fact, after the exhibition, the pillars will be reused in furniture designed by designers of Okamura. In this way, space, painting, and textiles are closely connected in one exhibition.

Below is a text written by Taro Igarashi who curated this exhibition.

A new place of expression called OPEN FIELD will be born in Okamura's Garden Court Showroom. In OPEN FIELD, I superimposed an image of a field where unexpected encounters and events take place, rather than a format that was presumed in advance. Therefore, I planned to create a space as a landscape where three creators from different genres participate and experience painting and design. Of course, since there will be paintings, I thought that it would be natural to create a wall, but Ryuji Nakamura proposed a space with a forest of slightly swollen slender pillars. Therefore, painter Sayaka Hanafusa will do an unprecedented task of adding fragmentary images to the pillars after she has drawn a new work for this exhibition. However, she said that she would like to challenge it on such an opportunity. In other words, since it is no longer an exhibition in an ordinary enclosed "room", the "painting" is also deconstructed. Visitors will stroll through a forest strewn with painting fragments. In addition, Yoko Ando has often created soft wall-like textile works that divide space, but this time she is in charge of the capital part of the column, and also plays the role of stabilizing the structure of the column. This is her first attempt. In this OPEN FIELD, the relationship between space, textiles, and paintings will be deconsutructed and reconstructed. Instead of creating an exhibition space that is separate from the surroundings, by inserting a group of special pillars into the usual room, the familiar interior scenery becomes different. On the other hand, it is interesting to think about it while looking back at the history of architecture. For example, the classical column has a bulge (entasis) on the column and a segmented stigma. Medieval pillars have a variety of decorations, and in the Baroque style, painting and architecture have a mixed relationship. This attempt may be a 21st-century expression of these past examples.

Exhibition title: OPEN FIELD 1st exhibition “Forest of thin columns with a slight bulge - recombining space, painting and textiles”
Date: September 19th - September 29th, 2023
Venue: Okamura Garden Court Showroom, New Otani Garden Court 3F, 4-1 Kioicho, Chiyoda-ku, Tokyo, Japan
Organizer: OKAMURA
Planning: Taro Igarashi
Participating artists: Ryuji Nakamura (architect)+Sayaka Hanafusa (artist)+Yoko Ando (textile designer)
Coordinator: Naomi Shibata
Venue design, table, stool: Ryuji Nakamura and Associates (Ryuji Nakamura, Makiko Wakaki)
Building blocks furniture: OKAMURA (Natsumi Aso)
Graphic design: Yutaro Yamada
Construction: TANK (Naritake Fukumoto, Ren Kobayashi)
Photography: Ryuji Nakamura





オカムラのガーデンコートショールームに、OPEN FIELDという新しい表現の場が誕生する。OPEN FIELDには、あらかじめ想定された形式ではなく、予期されない出会いや出来事が起きる原っぱのようなイメージを重ねあわせた。そこで3名の異なるジャンルのクリエイターに参加してもらい、絵画とデザインをともに体験してもらう風景としての空間をつくることを企画した。もっとも、絵画の作品が入るので、当然、壁がつくられるかと思いきや、中村竜治さんからは少しふくらんだ細い柱が林立する空間が提案された。したがって、画家の花房紗也香さんは、本展のための新作を描いた後、柱にその断片的なイメージを足していくというこれまでにない作業を行うが、こういう機会に挑戦してみたいとのこと。すなわち、通常の囲まれた「部屋」における展示ではなくなるため、「絵画」も解体される。来場者は、絵の断片が散りばめられた森の中を散策するだろう。また安東陽子さんは、これまで空間を仕切る柔らかい壁のようなテキスタイルの作品が多かったが、今回は柱頭にあたる部分を担当し、しかも柱を安定させるという構造の役割を果たす。これは彼女にとって初の試みである。今回のOPEN FIELDでは、空間、テキスタイル、絵画の関係性の組み換えが行われる。それも周囲と切り離された展示空間をつくるのではなく、いつもの部屋に特殊な柱の群れを挿入することで、見慣れた室内の風景を異化させる。一方で建築の歴史を振り返りながら考えると興味深い。例えば、古典主義の円柱は、柱身に膨らみ(エンタシス)があって、柱頭が分節されている。また中世の柱は多様な装飾をもっていたり、バロックにおいては絵画と建築が混交するような関係性をもつ。今回の試みは、こうした過去の事例に対する、21世紀的な表現かもしれない。

展覧会タイトル:OPEN FIELD第1回企画展「ほそくて、ふくらんだ柱の群れ - 空間、絵画、テキスタイルを再結合する」
会場:オカムラガーデンコートショールーム 東京都千代田区紀尾井町4-1ニューオータニガーデンコート3F

Ryuji Nakamura and Associates