《ひ か り の う り つ わ》

 

2024

発色現像方式印画

250cm×400cm×5.8cm

(117.5cm×79cm×5.8cmが２点、41cm×61cm×5.8cmが2点、41cm×27.4cm×5.8cmが2点、20×26×5.8cmが1点)

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2025年 上野の森美術館「VOCA展2025 現代美術の展望—新しい平面の作家たち—」での展示風景

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《Vessels of Light》

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2024

Chromogenie print

250cm×400cm×5.8cm

(Two pieces measuring 117.5 cm × 79 cm × 5.8 cm, two pieces measuring 41 cm × 61 cm × 5.8 cm, two pieces measuring 41 cm × 27.4 cm × 5.8 cm, and one piece measuring 20 cm × 26 cm × 5.8 cm)

 

Exhibition view at the Ueno Royal Museum ​2025, “VOCA Exhibition 2025: Prospects for Contemporary Art—New Artists Working in Two Dimensions”

 

 

 

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本作の舞台はスクリプカリウ落合安奈の父親の故郷ルーマニアである。

彼女は、自身にルーマニアの血が受け継がれているにもかかわらず、その地域における記憶や知識の希薄さに対して、臓器がひとつ機能していないような感覚をもっていた。

彼女は、それを透明な臓器と表現する。

そして自身のルーツを辿る旅により、その臓器に経験と記憶という血を巡らせようと試みている。

山田裕理氏（東京都写真美術館 学芸員）

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This work is staged in Romania, Scripcariu-Ochiai Ana's paternal homeland. Despite inheriting Romanian blood, her lack of memories or knowledge of this area has made her feel as if one of her internal organs was malfunctioning. She describes this as a transparent organ. Through a journey tracing her roots, she tried to make blood of experiences and memories circulate in that organ.

  A smiling shepherd and his silhouette looming between the clear sky and the earth; an old woman looking straight forward and an old farm shed; a woman sitting by the window and reading, and pastureland extending across an undulating mountain surface of woods. While the look or appearance of the people call individual narratives to mind, the landscape motifs serve as social signs of migration or settlement.

  Everything to do with the roots she had been unaware of until then turns into light and is poured into the transparent organ, which enables us, too, to realize that there are "vessels of light."

 

Yamada Yuri

Tokyo Photographic Art Museum, Curator