稲葉朗
Akira Inaba
關於
I’ve always felt a distance from what was traditionally called "art." The works that captivated me were those featuring characters with lively movements and expressions, like in manga and anime. It was during that time that I realized human beings, were the most compelling subjects for me both as an artist and in terms of expression. Through their movements, I perceive the aspects of time, space, and era.
This experience inspired me to create figures that combined the beauty of human faces and bodies with the warmth and strength inherent in wood.
In my artworks, “emotions and thoughts” are primarily conveyed through facial expressions and gestures. My aim is not to create realistic pieces but to pursue the ideal and impressionistic representations. I then constantly question what makes something beautiful and seek answers within myself.
【Phone Series】
Phone, an essential electronic device in our daily lives. Wearing and using it, I depicted the appearance of seeming alone but actually being connected to others in my artwork. Furthermore, I represented the changing modern era by combining this iconic electronic device with young people as models. Additionally, I carved scenes with minimal movement but evoking the sensation of being outdoors, where the wind blows.
【Half Series】
A series that incorporates the intricate inner world, which is not visible in reality, into the half-body parts. It is an expression of the heart and emotions in a manifested or abstracted form. I carved the true image of a woman that is contradictory, having both unstable and powerful aspects, different from the outward appearance.
【Sports Series】
I create art to capture the fleeting brilliance within bodily movements, combining moments of scenes, places, and spaces into a single piece. Simultaneously, I find it important to convey the image of contradicting time's flow, shaping it into a unified "contradiction of time.”
Originally, I wanted to create artworks that float in the air, but wood carving posed physical limitations. While exploring physically possible forms, I adjust poses at the delicate edge where both physical feasibility and attractive movement intersect.
Regarding facial expressions, I’ve prefer selecting and enhancing the image over realism.