Past 

Nostalgia Scene – Seeing the Past Through the Scenery-Solo Exhibition of Mizutani Atsushi

Date /2017/8/5 ~ 2017/9/3
Reception /2017/8/5 PM3:00-5:00
Artist /Atsushi Mizutani

“Nostalgia Scene – Seeing the Past Through the Scenery”

The subtitle of this exhibition is “Seeing the Past Through the Scenery (“借光景以往來兮”)” which is quoted from the ninth chapter “Sadness Returning Wind (“悲回風”)” of Songs of Chu written in the Warring States Period.

           This poem is an old article that requires many explanations to interpret the poem, and I was attracted by the explanation of “using the light of the sun and moon to shine the past and future.”

           I have been painting art pieces that focus on “the scene of deja vu,” including the scenes that I have been looking at, those stay in my mind and those I have forgotten, those have existed among people, and the scene of past and future. With the various kinds of scenes, I created the scenes of deja vu.

           This is also the feeling to create the nostalgia scene.

           The scenes are like the nostalgia existing in front of me.

           When I was wondering the scenes and nostalgia scenes on the other day, I was trying to figure out how the word “nostalgia scene” was used and that was the moment I thought of “Seeing the Past Through the Scenery” from the ninth chapter “Sadness Returning Wind” of Songs of Chu.

Mountains in Mind

Mountains in Mind

By LAI Yun-hsin

Associate Professor at the Department of Sculpture, NATIONAL TAIWAN UNIVERSITY OF ARTS

 

There are more and more young and talented wood sculpture artists with various techniques and skills joining in the field of art in Taiwan. The sculpture of “Mountains” by Mizutani Atsushi presented a fresh impression different from the general wood sculpture and just won the Lih Pao International Sculpture Biennial Awards. He made the art piece by joining the wood sticks of southern pine, curving the texture of mountains by sharp circular knives and then painting with Japanese painting pigment. The creative procedures seemed to be causal; however, he explained the reason why she chose southern pine to make the art piece. When southern pin was curved horizontally, even and small pattern of texture can be created, forming the wrinkle effect of Chinese ink paintings. When I saw different size of art pieces in his studio, I placed them on my hand to take a close look trying to find some angles to view the art pieces. He carefully took some art pieces and explained his creation idea that those art piece were made to hang on wall. Some of the art pieces are as small as palms, while others are as big as the wall of his studio.

The characteristics of viewing and deployment of Mizutani’s art pieces maybe come from the depose of Japanese domestic housing. The position and properties of objects to be deployed in living space, including sculptures, ceramics objects, flower arrangement, calligraphy decorations, and paintings, have been decided to be put in certain interior place. Therefore, the viewing angle of these objects are required to be planned earlier to comply with his creation idea.

Mizutani was born in Gifu Prefecture where is one of the prefecture in Japan that is far from sea. His house was located in Nobi Plain which was a plain created by the three rivers and surrounded by mountains; thus, he had been watch the difference scenery of mountains in his childhood. “Landscape and nature scenes” have been his creation topics, such as the scenes he had seen, those stayed in his mind and those he had forgotten, those have existed among people, and the scene of past and future. He brushed white as the background tone and painted various colors by Japanese painting pigment to present the change of four seasons. He believes the landscape can be broken down into nostalgia scenes, which is how he presented the scenes with the reason of time. Thus, he was attracted by the ninth chapter “Sadness Returning Wind (“悲回風”)” of Songs of Chu that “Seeing the Past Through the Scenery (“借光景以往來兮”).” He was trying to reflect the life scenes of past and future by the landscape paintings he created.

Mizutani also mentioned about the three concepts of his creation. First, he wanted to raise social questions through artistic creation. However, he found the questions are closed to him because of life and media while the questions are far away from him because he cares and concern the society. Secondly, he is polytheistic that he believes everything has spirit like Taiwanese, which affects his attitudes and respect to things. Thirdly, he agrees with the Gaia hypothesis proposed by the British scientist, James Lovelock who suggests that the interaction between the earth and living beings can form individuality that have conscious to adjust itself. He also pointed out that the relationships between human beings and the earth are multilayers of correlations like networks. Although we cannot observe directly the three concepts from Mizutani’s art pieces, the three concepts cohere his art pieces like isolated island landscape which exist independently.

 

Mountains in Mind

By LAI Yun-hsin

Associate Professor at the Department of Sculpture, NATIONAL TAIWAN UNIVERSITY OF ARTS

 

There are more and more young and talented wood sculpture artists with various techniques and skills joining in the field of art in Taiwan. The sculpture of “Mountains” by Mizutani Atsushi presented a fresh impression different from the general wood sculpture and just won the Lih Pao International Sculpture Biennial Awards. He made the art piece by joining the wood sticks of southern pine, curving the texture of mountains by sharp circular knives and then painting with Japanese painting pigment. The creative procedures seemed to be causal; however, he explained the reason why she chose southern pine to make the art piece. When southern pin was curved horizontally, even and small pattern of texture can be created, forming the wrinkle effect of Chinese ink paintings. When I saw different size of art pieces in his studio, I placed them on my hand to take a close look trying to find some angles to view the art pieces. He carefully took some art pieces and explained his creation idea that those art piece were made to hang on wall. Some of the art pieces are as small as palms, while others are as big as the wall of his studio.

The characteristics of viewing and deployment of Mizutani’s art pieces maybe come from the depose of Japanese domestic housing. The position and properties of objects to be deployed in living space, including sculptures, ceramics objects, flower arrangement, calligraphy decorations, and paintings, have been decided to be put in certain interior place. Therefore, the viewing angle of these objects are required to be planned earlier to comply with his creation idea.

Mizutani was born in Gifu Prefecture where is one of the prefecture in Japan that is far from sea. His house was located in Nobi Plain which was a plain created by the three rivers and surrounded by mountains; thus, he had been watch the difference scenery of mountains in his childhood. “Landscape and nature scenes” have been his creation topics, such as the scenes he had seen, those stayed in his mind and those he had forgotten, those have existed among people, and the scene of past and future. He brushed white as the background tone and painted various colors by Japanese painting pigment to present the change of four seasons. He believes the landscape can be broken down into nostalgia scenes, which is how he presented the scenes with the reason of time. Thus, he was attracted by the ninth chapter “Sadness Returning Wind (“悲回風”)” of Songs of Chu that “Seeing the Past Through the Scenery (“借光景以往來兮”).” He was trying to reflect the life scenes of past and future by the landscape paintings he created.

Mizutani also mentioned about the three concepts of his creation. First, he wanted to raise social questions through artistic creation. However, he found the questions are closed to him because of life and media while the questions are far away from him because he cares and concern the society. Secondly, he is polytheistic that he believes everything has spirit like Taiwanese, which affects his attitudes and respect to things. Thirdly, he agrees with the Gaia hypothesis proposed by the British scientist, James Lovelock who suggests that the interaction between the earth and living beings can form individuality that have conscious to adjust itself. He also pointed out that the relationships between human beings and the earth are multilayers of correlations like networks. Although we cannot observe directly the three concepts from Mizutani’s art pieces, the three concepts cohere his art pieces like isolated island landscape which exist independently.