“Copperplate Prints From 1963” / 『1963年の銅版画より』

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撮影:SNOW Contemporary
発行:SNOW Contemporary

*展覧会展示風景は、カタログに掲載されておりません。/ The exhibition view is not posted in this catalogue.

■河口龍夫 / アーティストステートメント 『1963年の四点の銅版画をめぐって』より抜粋
1. 消去された時間



36 pages, 14.7 x 10.5 cm, English & Japanese
10 works by Tatsuo Kawaguchi from the Copperplate Prints from 1963
Essays by Tatsuo Kawaguchi and Seiichi Tsuchiya
Translated by Kana Kawanishi
Photo by SNOW Contemporary
Edited by Kenji Kubota, Mifuyu Ishimizu and DaisakuKitamura
Designed by Keiko Mineishi
Published by SNOW Contemporary

■ Tatsuo Kawaguchi Artist Statement - Excerpt from “About the Copperplate Prints From 1963”
1.Erased Time
I was looking for my earlier works left in my atelier in which I could find my interest towards time. One of the copperplate prints I created in 1963 was titled Erased Time, which vividly showed my interest towards time already from its title. As it was impossible to draw the time itself, what I had drawn there was an image of time by rendering the image of a clock. Being an existence living in time itself, it seemed as though I was aware of the impossibility of objectifying time itself. I must admit that my expression towards time was still somewhat impoverished then, while at the same time, it embodied one of my earliest interests and endeavors towards time, which also brought me back a nostalgic feeling.

The reason why it brought nostalgia to me was because of the image of the clock. It was the old wall clock that existed in my house since I was born. The clock was a pendulum clock that ticked every day with a lyrical sound. It was a mechanical clock that moved by the power of a wind-up wheel, and it needed to be wounded up every day with the small copper key that went inside a small hole. Since the moment the role of winding up the wall clock became mine instead of my father, I felt as though I was giving life to the clock each time I winded it up. I can vividly remember the sound of when would wind up the clock, as well as the sound of its bell when the clock would let us know the time. The bell of the clock rung once when it was one o’clock, and then twelve times when it was twelve o’clock.

The work titled Erased Time had already lost its sound, but we can see that the dial face in which had the function of acknowledging the time was drawn on the right, and the swing of the pendulum that made the clockwork was drawn on its left. However, the clock in my memory had its dial face that acknowledged us the time and the swing that made the short and long arm of the clock to move all connected together as one and was ticking time with the pillar on its back. Why did I separate the pendulum clock and divide them to the left and the right? Thinking back from the fact that I also drew the key that could wind up the clock together with the dial face, perhaps it comes from my memory of the clock stopping in silence when I forgot to wind up the wheel. Or, perhaps I imagined of inserting a special time-space that does not exist in the actual seamless time that flows without any cleavages; this means I cut the time, and maybe imagined that the disconnected time was an erased time. Or, did I think of those moments in which a particular flow of time would feel longer or shorter than others, and interpreted such personal flow of time in one’s mind is different from the physical flow of time, and comprehended this disconnection as the disruption of time. Either way, it seems as though the irreversibility of time overlaps with the irreversibility of facts that occurred in the past.

When I found the work Erased Time described in the text above, I also found three other works. All of them were copperplate prints created in 1963 when I was 23. The titles written below the images other than Erased Time were A Person, Bud, and Mask. The moment I reunited with my works and saw those titles, I felt as though I was encountering an unmovable fish in an aquarium, or staring at a rare insect I had captured and kept in a cabinet in the past, or was seeing through an old opaque glass that was slightly foggy after the remnants of time, perhaps because of the volume of the time that had past which counted up to 55 years.

* Two months after I wrote this text, six more copperplate prints from 55 years ago were found.
*Please feel free to ask us about the artworks shown in the catalogue.

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¥550 tax included