Yuji Mizuta textile+music

7-18-8-2F Roppongi, Minato-ku, Tokyo 106-0032

contact@yujimizuta.com

Copyright yuji mizuta 2018-2023

​Kenran

Beauty and ugliness. Order and chaos. Everything in our world is inextricably linked. Every coin has two faces. We all know this, and yet it is difficult to perceive the two faces of a coin simultaneously. I wondered what kind of worldview I would find if I could open myself to all of my feelings at once, without denying any of them. “kenran” is the result.

 

In the world of “kenran”, intertwined digital devices searching for connections collide with classic textile patterns, while flora and fauna, sounds, and numerous other elements overlap to create a unified whole. As the pattern repeats, we begin to sense the iterations and echoes of time and culture. If a third party were then to intervene and wrap their body in the fabric, the world of the imagination would be drawn into the real world, triggering a whole new narrative.

 

kenran was created from twelve plates using various dyes and pigments. Since the realization of such a complex pattern is not easy, it was finished manually by craftsmen using finely adjusted printing methods. Finally, it was embroidered with gold thread. Each plate and each stitch entwine to produce an expression of time and culture.

 自然の中で生まれたものの摂理、人工的に作られたものの計算的な法則物質的が異なる比較や批判で、この世の中は成り立つ部分があると感じます。美しいものは汚いものがなければ引き立たないし、時には滑稽で愚か。異質なものや世に反するものは、整列されたもの、規律ある表現がなければ、生まれないのではと思う。ただそれは単体として個別に認められることが多い。それにアイロニーや哀しさをも感じる。一人称としてはとらえやすい、様々なもの表現を重ね合わせて排除することなくすべてを解放することで何かしらの可能性を見せてくれるのではないか、kenranという生地はそこから発想をし生まれた布です。美しい野いちごの木の実を取り合い舞う鳥たちの整列された自然美を愛するウィリアムモリスのような表現ポップカルチャーとして括ったアート、音楽、ファッションのハッとする形や表現。混沌とした現代、簡単に繋がりを求めていくかのように入り組むデジタルオブジェクトなど、往年のテキスタイルパターン、デザイン、アート、動植物や電子機器など様々な異なる文化と時間をすべて受け入れような文様(柄)として描きました。

すべてを受け入れることで描いた文様は異質の文化が混交する一つの空間。あらゆる時代のあらゆる要素が入り込んでき、そのテキスタイルの空間に触れた方たちが視覚的にも心理的にも新たな形へと変化していき、以前夢で見たようなか、どこかで体験したようなとか、そんな感覚を抱き、そしてその感覚は柄のリピートによって、更に文化や時間の繰り返しを無意識のうちに体験、増幅していきます。kenranは12版の版枚数を使用し手捺染で仕上げ、金糸で仕上げた刺繍刺しています。1版1版、一針一針が、一つの文化や時間ととらえインクごとに素材、濃度を変え職人の手で仕上げています。

文様(柄)リピート、細かな手仕事によって絢爛豪華(kenran)が生まれました。見る方にとって、強引に重ねられた文様たちが解放されていきそうな不安定さも用いてます。

でもこれはあくまでテキスタイルでありデザインでありアートであり、何物でもない単純な布だということ基本に思ってもらいたい。 

Portrait – Multiverse – Synchronicity

After looking at many portraits – the eyes, mouths, ears, and skin, the landscapes and living things drawn in the background, the techniques employed by the artists – I began to feel like I was looking in a mirror, and I started to think about myself as an individual.I began to wonder.  Is there only one of me?Or am I plural, existing in plural worlds?

Perhaps my many selves are living at the same time in worlds I cannot see, falling in love, experiencing joy and sorrow, and dreaming.

Maybe in a different world I am an astronaut heading into outer space.In yet another world I might be a priest dishing out blessings, or a woodcutter chopping down trees.And how about my friends and family, or all the people I’ve never met before?

Maybe in other worlds they are scientists making brilliant new discoveries.

Just thinking about it gives me chills.What’s more, I do not believe that these worlds exist independently.  They must be joined integrally, indivisibly.Even in our single world, with all its differences, sometimes we all think along the same lines and act in harmony, so surely, in some distant place invisible to us, our other selves are thinking the same thoughts at the same time, vibrating at the same frequency.

Like lines connect points, the things that happen to us every day activate the individual functions of our bodies, which then work together as a whole to connect us to the outside world.  And as this process repeats itself, we bring forth new worlds that become connected to each other in turn.So nothing, not even our world, exists alone.  Everything exists somewhere else.In this unthinkably large universe, everything is joined in a huge circle.This thought makes me so happy.

Still life

The motifs used in “still life” aim for a simple beauty, drawing from the pictorial realism latent in patterns as objects. The motifs were produced in a painterly manner, building them up and layering them like pigment on a canvas through a reconstructive process of adding, removing, and overlaying. The textile pattern functions like a diary that conveys the actual nature of everyday life through sketched drawings that accumulate, moment by moment.


Since the designs found in “still life” required delicate workmanship, traditional pattern carvers from Kyoto were employed. Their handiwork produced a profound sense of depth for a more subtle, nuanced effect. At the printing stage, expression through detail was again emphasized in the repeated layering of the same color over itself to convey a more palpable sense of the motif. The tactile nature of the printing and the texture of the fabric lend a feeling of depth to the design.

 

Employing a monotone base, the focus is on the intricacy of detail found in the pattern’s motifs.

​Ende Garden

ある庭園の扉を開けたエンデ。そこは夢想した、”現実”。その隙間に迷い込んだエンデの不思議な体験をイメージしたファブリックシリーズ。

OTHER