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Group show '20th DOMANI: The Art of Tomorrow' Exhibition at The National Art Center in Tokyo (2018) 

企画展「20th ドマーニ・明日」国立新美術館

Photo: Hayato Wakabayashi







(20th ドマーニ・明日」​カタログより)

First I make a sculpture with clay.

Sculpture is something on to which I transfer memories, dreams, fantasies, and fragmented images of a story that appear and disappear so that they do not disappear. When water is 

added, clay becomes soft; when it is dry, it becomes firm. During the creation process,

I shape the clay while moisturizing it, just like moisturizing a plant with a water spray.

When I feel certain that the shape, I have created looks “real” enough, the original mold is complete. Next I make a plaster cast out of the mold. I pour liquid plaster mixed with water

over the mold, and then the plaster radiates a low heat and gradually solidifies after several minutes. I remove the clay mold out of the completely solidified plaster.

The clay without form is put back into a clay tank, and it waits until it is shaped again.

The soil sculpture that existed there disappears and what remains is the trace of what was there. Emptiness.

This is generally called a female mold. I used to add color inside a mold and fill it with transparent resin.

In 2011, I started creating a new series in which I mix transparent resin with black pigment. The motivation behind creating this series can only be explained as a reflex action to the environment I was in at that time. It has been seven years since then. I have gradually unraveled the reason for the initial impulse while attempting to confront the technological experiment and material difficulties.

The shape that existed at the forefront when the original mold was still present is now positioned even further back by removing the mold, and, by filling the plaster casting with black resin, it becomes darker and harder to see the further it goes back.

The black shade is determined by the depth of concave, and only information projected from inside onto the solidified resinous surface, which is a place comprising 0.01mm where the sculpture surface touches air, is visible to viewers. This black shadow that shouldered the

absent sculpture is shaken by the movements of the viewer, shuttling between the uncertainty and certainty of its existence.

Michiko Nakatani

​(From Katalog '20th DOMANI: The Art of Tomorrow')

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