Seizo Tashima Home Page             T Party on the Water       

  Installation Catalog                 U“To all the pumpkins!”

  TParty on the Water (Driftwood and palm ropes)
           The Museum of Art, Kochi 2006/07/28〜9/18
   1 Driftwood
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I have been making more artworks with driftwood in the past several years because driftwood is attractive.
To me, its attraction lies in the memories of the life it possesses.
I see it as something that was once alive just like nuts.
Pieces of driftwood inspire my imagination. Where in the wild mountains did they once grow?
What kind of flowers and fruits did they bear?
What sort of insects laid their eggs on the leaves and ate them in order to live?
Which insects, birds and small animals came to live and reared new lives in harmony with them?
They must have been fallen by a storm, floated downstream on the Niyodogawa River over the Pacific Ocean.
Their journey must have been a long and rough one, tossed about by the waves and damaged by the rocks.
The shapes of driftwood are beautiful. I want visitors to appreciate their beauty.
My works of driftwood remind one of something else. I do not mind whatever visitors may associate with them.
I created them so that they would allow different interpretations.
A number of people gave me a hand in order to produce my works in this installation.
I asked them to bear in mind “the life of driftwood” while working.
We only used palm ropes for tying the pieces.
  These are four works of driftwood in the installation.
The unbroken heat of summer has made the water evaporate.
Their images are not clearly reflected in the water.             © Photographed by Atsushi Sakai

 2 Water
  Since I decided to produce an installation on the water in the front yard of the museum, I have been conscious of one of the characteristics of water,
that is, “to reflect”. Not only do the abstractions I produced become new images when reflected on the surface but also the “reflected” images change because of the ripples caused by the blowing winds and other factors.
It has been sunny for days on end here in Tosa, and the water level has largely dropped (Now it seems to be less than 30 percent.).
As a result, the works do not “reflect” as well as I expected. The parts which should sink under water are over the surface.
Yet, I do not think it has such a bad effect on the installation as a whole.
I like them just as they are now. After all, the driftwood is beautiful in itself.


© Photographed by Minori Soutome

   3 People
  The installation of driftwood on the surface in the front yard of Kouch Museum is “a work” of people and driftwood. This coming together began at the beach when we collected driftwood.
More than 50 people, including people from my hometown, volunteers who came to the museum and staff members from Tokyo, helped me.
The hearty cooperation of these people is the critical element of the production.
This means that a large circle of people surrounding me created the works of driftwood.
I also would like to add that Samon Aoshima gave me a helping hand with the production.
  People who collected driftwood ©Photographed by Atsushi Sakai  ©Photographed by Yoshiko Watanabe
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