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Blog｜Art U Staff Blog “asobe”

須田剋太〜抽象時代〜　　 Kokuta SUDA~Abstract era~　　　　　

ひと昔前の関西の美術館のオープニングパーティの名物は、つなぎ姿の須田剋太とメキシコ風バンダナの下村良之助でした。須田さんはまるで自然児がそのまま大人になったような人柄で独特の話し方から活気が溢れていた様子が今も目に浮かんできます。

もう 30 年になるのです、宇宙に還られて！しかし御本体は宇宙に帰還されても地球上には須田さんの無数の分身（作品）が生命を輝かせて、見る者にエネルギーを噴射しています。そして新たな生命現象を触発させています。画家にとりましては本体の消滅は意味がないのでは？とさえ思われます。

関東に生を成した、ひときわ感受性の鋭い自然児は画家を目指し幾多の試練を経て、関西に根を下ろすことになりました。現代抽象画の先駆者である長谷川三郎との運命的な出会いは須田の画業の大きな転換期となりました。吉原治良の率いる芦屋市美術展やゲンビ、具体美術等の熱き渦潮の当時の関西の地にあり、須田の造形本能はマックス状態であったことが、この時代の抽象作品から如実に伝わってきます。ですから私は '50~'60 年代の作品に拘るのです。そして愛するのです。実際、半世紀余を経た今目にしても少しも色褪せてない、いや今日の閉鎖的な人間社会にあっては一層輝いてくるのです。

只今展覧会開催中　パラミタミュージアム http://www.paramitamuseum.com,~11/29

A long time ago, the specialties of the opening party of the museum in Kansai were Suda Kokuta in a coverall and Ryonosuke Shimomura in a Mexican bandana. I can still see Mr. Suda's personality as if a natural child had grown up, and his unique way of speaking was full of energy.

It's been 30 years now, return to space! However, even if the main body returns to space, Mr. Suda's innumerable alter ego (works) shines life on the earth and injects energy to the viewer. And it is inspiring new life phenomena. Isn't the disappearance of the main body meaningless to the painter? I think so.

An extremely sensitive natural child who was born in the Kanto region, after many trials aiming to become a painter, decided to take root in the Kanto region. The fateful encounter with Saburo Hasegawa, a pioneer of contemporary abstract painting, marked a major turning point in Suda's painting industry. It is clearly understood from the abstract works of this era that Suda's modeling instinct was in the max state in the Kansai area at the time of the hot whirlpools such as the Ashiya City Art Exhibition led by Jiro Yoshihara, Genbi, and Gutai Art. .. That's why I stick to the works of the '50s and' 60s. And I love you. In fact, more than half a century later, it hasn't faded at all, and it shines even more in today's closed human society.

 

 

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“asobi”＜あそび＞って一体なんでしょうか？

古来日本文化には～遊びをせんとや生れけむ、戯れせんとや生れけん、遊ぶ子供の声きけば、我が身さえこそ動がるれ～梁塵秘抄（りょうじんひしょう）や禅語「遊心」が風流＝芸術の根底にあります。
西洋ではホイジンガの「ホモ・ルーデンス」という遊戯が人間活動の本質であり、文化を生み出す根源だと思想があります。
私には三人の赤ん坊を育てた臨床体験が鮮明に脳裏に刻みこまれています。乳に満ち足り、寝足りた赤ん坊の行為ですがそれはそれは好奇心に溢れています。手足で遊んだり、触れるものは何でも口に持っていったり、触覚、視覚、聴覚をフル回転して一時の休みもなく遊んでいます。ハイハイができるようになるとその好奇心は一段と高まり、その好奇心により運動能力が発達していく様に見えます。
この好奇心こそ人間の本質であり asobiではないでしょうか？

さて前書きが長くなりましたが、その狙いは私の 密やかな asobiを正当化するための方便でもあるのです。
寛仁大度な作家さま方が私の“asobi”に目くじらたてられないことを願っての、

ところで、今私が目にしている作品はかってはあなたの胎内から産み出されたものですね。安産であったか、七転八倒の難産であったかはわかりませんが産み出された作品はもう一つの独立した人格？というか画格を持った生命体として存在しているのです。
そして見る者の心に生命の輝きを点火させ、時空を超えて生命のエネルギーを放出し続けるのです。
もうそれは産みの親である作家さんの圏外の事象なのです。
感動された時、もうその人のPersonal possessionになるのですから。
感動するとは一体どういうことでしょうか？
それは見者の内にある感性が呼び覚まされる、そして共鳴することではないでしょうか。見者の未窟の鉱脈を探り当てる歓喜と奏でる協奏曲こそ至宝の asobi ではないでしょうか？

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Asobi

References to play abound in Japanese culture passed down over the centuries. Good examples include one of the Ryojin-hisho* songs, “We are all born to play, born to have fun. When I hear the voices of children playing, my old body still responds, wanting to join in,” and the Zen word, Yushin/Asobi-gokoro (A playful mind/Playfulness). Such references indicate that play (asobi) is one of the foundations of art and the popular arts. Similar ideas can be seen in the West, such as Johan Huizinga’s Homo Ludens (or Playing Man), which discussed the importance of play as an essential element in human activity and the origin of culture.

The experience of nursing and rearing my three children is vividly imprinted on my mind. Babies who had plenty of breast milk and sufficient sleep were absolutely brimming with curiosity. They played constantly, with their senses of touch, sight, and hearing in high gear, playing with their hands and feet, and putting anything they touched in their mouths. Once they started crawling, their curiosity went up another gear, seeming to drive the development of their physical abilities and motor skills. This curiosity is surely the essence of humanity, the manifestation of Asobi-gokoro or playful mind.

Please forgive the lengthy introduction, which largely serves to justify my own furtive play. I hope my playing will not overtax the artists’ generosity and compassion. You know, the artwork that I am now looking at has come forth from your womb. I don’t know if it was an easy delivery or an excruciatingly painful, difficult delivery, but now that it is done, the work that you gave birth to exists as a separate entity with its own independent character and its own life.

That entity sparks the fire of life in the hearts of viewers, triggering the ongoing emission of life energy that will transcend time and space. What happens is already outside the control of the artist who gave birth to it. When your art moves someone emotionally, that experience becomes his or her personal possession.

What does it mean to move someone? Surely it means stirring the viewer’s emotions and resonating inside him or her.Performing a ‘concerto’ that resounds with the joy of discovering an untouched vein of something precious inside the viewer is surely the most treasured form of play.

*Ryojin-hisho (Songs to Make the Dust Dance on the Beams): a folk song collection compiled by Cloistered Emperor Go-Shirakawa in the end of Heian period. (12th century)

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