Paper Windowscape

私の作品「Paper Windowscape」は、窓に着目したインスタレーションです。窓に障子のようなスクリーンを取り付け、展覧会期間中の夏の陽射しをコントロールしようとする試みです。この建物は十字路に面した角地に立地しており、様々な角度から建物を眺めることができます。三角形平面の一辺のみにスクリーンを設置することにより、一方からは障子が見えますが、踵を返し振り返ると障子は見えず窓が見える仕組みになっています。建物の廻りを歩き回れば、建物をみる角度により光景(シーン)が変化するインスタレーションです。

The Paper Object Festival (hereafter POF) is a paper festival held in Riga, the capital city of the Republic of Latvia which is located in the center of the Baltic States. The venue was in the Prdaugava district, an area on the opposite side of Daugava River from the old town where numerous wooden structures built in the mid-19th and early 20th centuries can be found. The organizer of this exhibition was the Kalnciema Quarter (hereafter KQ), an organization in the Prdaugava district which organizes and manages a range of cultural events. For POF, with Una Meiberga of KQ as curator nine Japanese artists were invited to participate, and their works were open to the public in seven different locations throughout the Prdaugava district.
Regardless of the perishable nature of paper when exposed to water, the particular characteristic of this exhibition is that work be shown outside. In the same vein as the curator’s statement that “the aim of this exhibition is to cause an influence on the urban environment of P?rdaugava by utilizing contemporary art methods”, the organizers did not wish to limit the exhibition to the confines of a gallery space but to create an exhibition within the city itself. It is difficult to work in an outdoor environment when using paper, but in installing the work outside I had strong expectations that viewers would be able to experience anew the delicate shadows and the beauty of paper’s transparent qualities brought about by exposure to direct sunlight, or its strength and impermanence when exposed to wind and rain.
My work “Paper Windowscape” was an installation that drew attention to windows. It was an attempt to control the summer rays of the sun throughout the exhibition period by placing a screen resembling a paper sliding door on the windows. The building was located at a corner facing a crossroads, allowing it to be viewed from different angles. By setting the screens on one side of flat-sided triangular forms they resembled paper screens from one angle, yet if you turned on your heels and looked at them from behind the windows would once again become visible. It was an installation where the scene transformed as you strolled around the building.