Hiraku Suzuki

solo exhibition catalogue
published by Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site
published date: March 31, 2008
authors: Hiraku Suzuki, Yusaku Imamura, Toshiharu Ito

solo exhibition catalogue
published by Aomori Contemporary Art Centre (ACAC)
publication date: December 30, 2015
authors: Hiraku Suzuki, Hiroyuki Hattori

published by Drawing Tube
Photograph: Ooki Jingu
texts: Kasetsu, Kento Takahashi and Hiraku Suzuki
spec: 80 pages, limited 500 copies
ISBN: 978-4-9909559-0-8

published by BEAMS Co.,Ltd
text: Chieko Kitade
Japanese traditional binding/ edition of 500
publication date: December 12, 2010
spec: 243 x 160 x 9mm
ISBN: 978-4-904921-09-8

published by Asahi Shimbun Publications Inc.
publication date: November 2008

published by SOMEONE’S GARDEN
publication date: December 2009
ISBN: 978-4-86100-669-2

published by LODOWM MAGAZINE
publication date: July 2011

date: May 2013
http://www.art-it.asia/

published by MIT Press Journals
publication date: September 2012

published by Bijutsu Shuppan-Sha, Ltd.
publication date: August 2015

published by Aomori Contemporary Art Centre (ACAC)
publication date: March 2016

published by Nikkei Inc.
publication date:  October 12, 2016

published by Bijutu Shuppan-sha Co., Ltd.
publication date: March 20, 2010
ISBN：978-4-568-10387-8

published by FOIL Co., Ltd,
publication date: February 2013
ISBN: 978-4-902943-79-5

published by NISSAN ART AWARD Project Office”
publication date: December, 2013

published by Red Bull
publication date: October 2014

published by Maison de la Japon a Paris
publication date: September 2015

published by Tokyo Photographic Art Museum
publication date: February 2016

published by The FID ORG
publication date: January 2017

[In Conversation]
Kyuyo Ishikawa x Hiraku Suzuki
“On the Origin of Words”
published by Sayusha
publication date: November 2017

published by Kawade Shobo Shinsha, Publishers with the support of agnès b. Endowment Fund
first edition, February 28, 2010
spec: 105×149×60mm/ 1008pages
ISBN: 978-4-309-25526-2

The title “GENGA” refers to a word play between the words “GENGO” (language) and “GINGA” (galaxy), with “GENGA” also meaning primal or original pictures. In this work, Hiraku Suzuki draws his own lexicon of signs and hieroglyphs which echo as much his own phenomenology of place (cities, landscapes, travels) as (pre-)historical archetypes and trans-cultural psychological subconscious. Hence drawing becomes a kind of “alternative archeology”.

The “Circuit” series are drawing works composed of countless fragmentary signs spiraling out from the center of the sheet that seem to simulate the formation of a galaxy. The layered traces resemble the surface of vinyl records and cross sections of trees. Furthermore, parallelly installing the works would suggest the bi-directionality of rotary motion or the reversibility of time and space.

“casting”(2010-) is a series that involves making stencils by cutting around the outlines of artifacts in photographs taken from the pages of museum catalogues acquired from around the world. The artist then uses the stencils with silver spray on the printed page, deleting the memory of each object to leave just an outline and a shadow where once an artifact had been. As a result, the artifact reappears with the look of an unknown object having a silver sheen and seeming to be three-dimensional. The process of bringing into existence a new image by manipulating the traces of something to reverse its shape—taking it from positive to negative and back again—underlies both the process of casting using metal and the processing of developing photographs.

“GENZO” (2014-) is a series that began with the artist taking black paper and silver spray into a completely dark tunnel, and making an instantaneous drawing in circumstances where he was unable to see anything at all. This approach brings to mind the negative hand paintings made in the darkness of a cave, and also resembles the process of developing photographic negatives in a darkroom. The title comes from the Japanese term for photographic development (GENZO), but could also mean ‘phantom,’or ‘original statue’—terms which in Japanese have the same pronunciation but would be written with different characters.

Deciphering the Light (2011-) involves tracing the residual images of transformation of sunbeams streaming through leaves on the road. As Suzuki describes his method as “alternative archaeology”, this practice aims to link subtle memories of ‘signs’ and ‘phenomena’ in our daily life with past and future.

“GENGA #001-#1000 (video)” is a video work that depicts the morphing and connecting of 1000 drawings as “signals”. Through the process of drawing, the artist repositions fragments of indecipherable signs discovered in trivial everyday moments, and inverts the negative and positive to free unknown signs concealed within the material domain, irradiating human memory in a state of flux between image and language.

Hiraku Suzuki’s performances function as a scene for experimenting discoveries that can only be generated within limited conditions including the relationship between the location and collaborators while using varying methods and materials for each session. For example, the artist made use of earth collected in the vicinity of the venue for some of his past performances, and in recent years, employed document cameras to project the characters and lines being illustrated on a screen while he conversed with guests. Through these performances, the artist is in pursuit of new possibilities, flexibly altering the format of each performance.

Working with “frottage” technique began as a project in which the artist rubbed the signs engraved on manhole covers from cities around the world onto paper with his feet. The traces which are made through the process of contact, friction, printing and inverting the negative and positive of the image by considering the reality itself as “engravings”, cast the possible existence of another reality.

“Bacteria sign” are a series of works created by embedding dry leaves under earth layered on panels that are completed by excavating lines formed with the centre veins of leaves. The final outcome can be presumed as a series of imaginary fossils. This practice intends to discover dormant memories by reconnecting fragments of lines that can be collected in our daily lives and excavate them through archeological procedures.

Decided based on research into structure, detail, and history of the space, the creation of the murals progress as a result of sequential improvised gestures that harmonize with the space, or as a simple yet massive sign. Both are attempts to achieve the generation and transformation of the space experience by materializing fictional time axes where relics are newly discovered at the site.

The artist’s sculptures are created following procedures based on archeological processes to contrive the inverting and reconnecting of opposing elements including the material and phenomenal, past and future, interior and exterior, and negative and positive. These works are attempts to discover new relationships between drawings and spaces, and those between signs and light.

A series of drawing works created employing reflectors generally used on items such as traffic signs at night. The unknown signs are composed by reconnecting fragments of signals that are distributed in the city, and when light is shone on these, they linearly reflect the light back to the light-source. In the moment the line of sight of viewers are aligned with the beam and the sign leaves an afterimage in their retinae.

鈴木ヒラクの美術活動における現在に至るまで、作品に使用している素材とそれらへの視点、作品集などについて。

– 創作するという行為を一番最初に意識したのはいつ頃、そしてそれはどのように発展していったか、お聞かせ下さい。

　3,4歳の頃から絵を描くのがただただ好きでした。それは何も特別なことではなく、ただ線を引くこと、それによって紙の上に何かの現象が起こることがとても不思議だったし、それは今でもそう思います。ただ、10代半ばに音楽を作り始めてからの5年ほどは、音楽活動にすべてを費やしていました。90年代後半は自宅録音でダブとかアブストラクトと呼ばれるような音楽を作って、東京のクラブで毎月ライブをしていました。
　大学では映像を専攻していたのですが、あまり映像は作らず、音楽ばかりやっていました。そんな1999年の春（20歳）に、神奈川県の河原を散歩していたとき、宇宙船のような形をした、長さ3.5mほどの腐りかかった巨大な流木に出くわしました。この流木に何か惹かれるところがあり、映像と写真で観察を始めました。そして、それを2tトラックで河原から運んで来て、大学の地下室にインスタレーションしました。移動の過程で木が割れて、石とか、虫とか、いろいろ出てきました。破片がだんだん土に変化していって、そこに小さな芽が生えてきたりもしました。それからまた小さな破片までひとつ残さずに集めて、流木をトラックに積み込み、元の川の同じ場所に戻すところまでを記録したのです。結局半年がかりのドキュメンタリープロジェクトになったのですが、これがじぶんにとって原点となる作品かもしれません。
　それから、音楽活動も2000年（21歳）頃にはだんだん宅録よりも、外で音を録音する方向（フィールドレコーディング）に向かっていきました。雨の日に新宿の雑踏でコンタクトマイクを使って音を集めたりしたりしていました。同じ頃、身の回りで掘った土や、街路樹から集めてきた枯葉を使った作品を作り始めました。『bacteria sign』というタイトルで、土の中に枯葉を並べて埋めて、その葉脈を発掘するという、架空の化石のような平面作品です。また同時に、音楽ライブの代わりに、クラブでも土を使ったライブペインティングを始めました。どちらも変化しながら現在まで継続しているシリーズです。
　こんな感じで、音楽活動と美術活動がフェードアウト／インしていって、気づいたら10年以上美術活動をやっています。そして最近は白い紙にドローイングをすることがだんだん中心になってきています。それと同時に、そろそろまた、時間軸上にドローイングをするように音楽を作りたいな、とも思い始めています。ちなみについ先週、ポルトガルのネットレーベル「test tube」から、友人と2人で作った音楽がリリースされました。昨年ブラジルのミナス州で鉄を叩いて音を出し、録音した音源で、『Beam Drop』というタイトルです。フリーダウンロードできるので、ぜひ聴いてみてください。
http://www.monocromatica.com/netlabel/releases/tube222.htm

– 紙とペンのドローイングだけでなく、土や泥、もしくは石などが素材となっている作品も多数ありますが、これらはどのような経緯で作品の素材として決定なさるのでしょうか。またそれらに対するヒラクさんの視線や、どのように捉えているのかも是非お聞きかせください。

　僕がやっているのは特別なことじゃないと思っています。身の回りにある物質とか技術を使って、やっています。画材屋がなくても、たとえ石器時代の前に生まれていたとしても、どこかの星に残された最後の一人になって文明の記憶を失おうと、その辺にある枝か石か指なんかを使って同じやり方をすると思います。
　それと、土やアスファルトなど、外で素材を集めるというのは、先述の流木の移動プロジェクトがひとつのきっかけになっていると思います。都市のアースワークという言い方もできるかもしれません。土自体は、都市のいろんなところにあって、道路の中央分離帯や、ビル群の植え込みにもあります。でもそれは昔からあったわけではなく、どこかの山からトラックに乗せられて運ばれて来ている、住所不定の自然であって、そこに惹かれるのだと思います。
　また、都市自体も、物質レベルではひとつの自然として捉えることもできると思います。ビルの外壁素材も鉱物や砂なわけで、ビルの谷間を、砂丘を想像しながら歩くとか。道路のアスファルトも古代生物の化石、石油からつくられているので、アンモナイトの上を歩いているという想像だってできます。マンホールは地下水脈だし、グラフィティは岩絵のように捉えることもできます。こうしてみると、都市全体がなにか他の惑星で、落ちている木の枝、路肩のリフレクター、看板なんかが未だ解読されていない象形文字に見えたり、地下道の空調が出す断続的な音が何かのシグナルのように聞こえたりします。これは神秘主義的なことではなく、少し目線を変えて、いまという時間やここという場所の中にある、いつかという時間やどこかという場所に繋がっている亀裂をよく見るということです。

– 東京を拠点にされていますが、創作活動の場として他の街や国、もしくは全く違う環境で興味のある所はありますか？もしそうであればそれはどういった場所なのでしょうか。

　これまで作品が色々な街や国に連れていってくれたし、色々な人に出会わせてくれました。だから、自分から行くというより、作品が先にあって、それに導かれるまま移動を続けているという感じです。ただその中でもブラジルはいつまでも僕の深いところにあり続ける国です。昨年1ヶ月居ただけでしたが、いつか長期で住みたいですね。

– 2010年のはじめにリリースされた1000枚のドローイングからなる作品集『GENGA』というタイトルは言語（GENGO)と銀河（GINGA)が一つに合わさった言葉ですね。これはヒラクさんの作品世界がとても簡潔に表れているタイトルだと解釈していますが、このタイトルに至った背景はどのようなものだったのでしょうか。

　2004年から、A4のコピー用紙を半分に折って、中心に折り目をつけてからマーカーでドローイングをした記号のような絵を描きためていました。最初はタイトルもなかったし、シリーズとか何も考えていなかったのですが、世界中どこに行っても現地でコピー用紙とマーカーを手に入れて、他の色々な作品と並行しながら描いていました。それが600枚を超えたくらいの時に、紙の束がすごい厚さになっていることに気づいて。そして、 ふとこれは文庫本にしたいと思ったんです。今まで見たことがない辞書のような本になるんじゃないか、と。それで、「言語と銀河のあいだ」という意味で『GENGA』（原画）と名付けました。言葉遊びというか、ラップのようなタイトルなんですが。言語も銀河も変容するアーカイブであって、その中で架空の言葉を書いてみるとか、架空の星座を夜空に見つけるとか、そういう行為に近いことをやっていると思ったからです。
　『GENGA』に関しては、このタイトル自体にインスピレーションをうけて、1000枚まで進んでいったという面もあります。これに限らず、タイトルが自分を導いてくれることもあるので、そこですべてを言い尽くさないように、少し遠くに投げるようにタイトルをつけることが多いです。

– 海外でも作品を発表されていますが、日本国内で得る反応の違いはありますか？

　もちろん国や都市によって傾向はありますが、国によっての違いというよりは、見る側の個人的な記憶に結びついて反応が変わってくることが多いようです。

– 存命しているアーティストでヒラクさんが共感を抱いている、または尊敬している人は？

　Jonas Mekas、Christophe Buchel、KAMI、Matt Mullican、Anish Kapoor、木村友紀、Miranda July、Tony Conradなど。

-最後に、 2010年12月に東京で個展、そして新しい作品集のリリースを予定されていますが、今後トライしてみたいこと等も含めお話をお聞かせ下さい。

　個展は全て新作で、マーカーを使った点描画のシリーズと、グラファイトとスプレーを使ったドローイングの２つを主に展示します。このスプレーを使ったドローイングが『鉱物探し』（Looking For Minerals）という本になります。これが『GENGA』に続く二冊目の作品集です。
和綴じ製本で、資料集のような趣の、なかなか変な本になりそうです。
今後もドローイングをさらに追求していきますが、本を作るのはやはり面白いので、壁画の写真を集めた大きな作品集とか、絵本なんかも作ってみたいですね。

2010年12月15日
CAT’S FOREHEAD | Journal｜鈴木ヒラク インタビュー

Please tell us about your brief history so far.

I’ve been drawing since I was 3 or something. There used to be a lot of blueprints at my home because my father was an architect. I used to draw something like a moai at the back side of the blueprints. I also spent a good chunk of my childhood excavating unknown things like earthenware fragments, minerals, and fossils in my neighborhood. Then I wanted to become an archaeologist. Afterwards I devoted myself into running and musical activities for a long time. In 2000, when I was 21, I started creating artwork that is what I still continue working on today.

Now I am an artist after all, and all of my practice including work on paper, on panel, mural, installation, frottage, live drawing, video and so on are based on the simple act of drawing. The method I have in my mind through them is still closer to “excavating”—things that are hidden in here and now, than to “depicting” things in classical way. I feel many things while I draw. Every now and then I feel like am just an insignificant fisherman sailing on the midst of the vast ocean of white blank paper. Or it may be an archaeologist exploring on the other planet. It is the state of mind that seems to have nothing to do with anything, at the same time it is connected to everything. Always the process, at the same time the consequence.

“GENGA”—the name is consisted of two words being combined : Gengo (language) and Ginga (Galaxy) = GENGA (primal drawing). How did it develop to reach such perfect title that presents what the project GENGA stands for? Did you have the title in your head initially?

Initially I didn’t have any titles or even think to make a series out of it. I think I drew #001 in 2004 inspired by a shape I saw on a pictorial book or something. I had just kept drawing a piece, using A4-size doubled Xerox paper and a marker everywhere in the world—in parallel with other works. Xerox paper are usually used for print
letters, but I use it for drawing dots and lines, and as I scan it, it becomes data, I then felt good as if I’ve created a new language, or as if I did something I should have not. Each drawing is completely different, since each piece is for me a new letter or signal, which then makes a compile of discoveries. In this series, I always try to draw something inspired by a moment, for example that a man walking in front of me suddenly looks to the side and the pattern of the back of the clothe looks twisted. A residual vision of a building I saw far from the train window. A moment where I saw weird signboard and graffiti. Of course there is a difference between the memory and what I draw. If I find a feeling of discovery in the drawing, then I select it as a piece of GENGA. I don’t select drawings that are similar to the already existing GENGA pieces.

I can’t help thinking about the moment that the first drawing had begun. There are some hypotheses about it, but basically the genesis of drawing has the synchronia with the beginning of language in the human history, and it is considered as the occurrence in the upper Paleolithic era. I think that the memory of that moment can be revived when today’s people look at the unknown signals, and it happens in just a brief while before we draw the meaning out of them. I take each GENGA as not the meaning itself, but something before the meaning, or you can say it the state from which meanings are emanating.

To make GENGA pieces is, for me, like talking in a new language or discovering a new star in the sky on my own rather than drawing pictures. In other words, it’s similar to re-enact activities such as ancient people in the Paleolithic era inscribed letters or as if someone started to create a new civilization in the distant future.

You currently reside in the UK, and extending your plans to be awayfrom your home country. You’ve already acquired a lot of experiences abroad—how does it feel as an artist living and working underdifferent circumstances, and how does it inspire you?

Now I’m simply enjoying it. I used to focus more on the unfamiliar place/material itself before, but now I take my work as more of an universal thing. I will do my thing wherever I am, but moving is a human instinct.

If you can choose one artist to collaborate with, who would that be, and how would you materialize the collaboration?

Collaborators are, for me, not who I choose or try to contact with. They always come to me occasionally and I’m just open to the new encounters. For example, I collaborated with Rei Kawakubo last year for the part of interior design for Comme des Garcons building in Beijing . She chose 3 of my GENGA drawings and combined them with her original dot pattern. It was very evocative experience for me, because she took my work in her own perspective and I found the new layer in my work. But to mention one, I think Richard D James’s music could work very good on my video piece which is the 1000 drawings transform endlessly.

I’d like to ask you how you feel about the whole situation in Japan after 3.11. How has it changed your life? How do you now view it from where you are now?

In fact, I have very mixed feelings about it. Of course I’m checking the situation and thinking of my friends in Japan all the time…. “What we should do the most for Japan” is still the most common phrase at now. But who knows? I really don’t want to understand what we should do at once. Because the answer will not to be just one thing, and this is already not only the matter of people living at the moment. So I just do what I do, not what I should do. I hope, someday in the future, I look back to the things I was doing then and come to know it was not bad. I mean, “now” is not only a dot that is separated from past and future. You can take it in your own perspective. I know It’s difficult actually. Personally, I was born in the Tohoku area in Japan and moved to the suburbs of Tokyo with my family when I was 2 years old. So I had been feeling like that I was away from my roots originally. Then 3.11 happened in the Tohoku area, now I feel a big sympathy for the words by Jonas Mekas in his film—he says, “I have never been able to figure out where any piece of my life belongs. So let it be, let it go just by pure chance and disorder. there is some kind of order in it. The order of its own.”

Tell us about your plans for the rest of 2011.

My solo exhibition will be held from August 8 to September 16 at Wimbledon Space(London, UK). It will present the new works which I’ve produced during this residency in London. After that, I am going to NY for the residency program at Location One; staying and working at there for 6 months. Additionally, there will be some group shows in Tokyo which I will take part in.

July 2011, LODOWM MAGAZINE #77

How do cave paintings come into being?
When exploring the interior of a cave with a torch, for example, one gets the feeling as if myriad images were lurking there in the darkness. Caves are places of receptivity, places to discover new images and create new forms and meanings inspired by the shapes of rocks and limestones captured according to personal body sensations, and by the welter of lines and surfaces that are pulsating in the darkness, dragged out in dream- or euphoria-like altered states of consciousness. For primitive man, caves must have been archives of elemental knowledge for survival, with murals functioning as interfaces to access the vast amount of information contained. The cave in this sense is a kind of storage and projection device, whereas the space itself is fitted with a mechanism for producing meanings and forms.

Hiraku Suzuki has been perceiving and understanding urban environments this way, which is why his works can be considered cave paintings of sorts in the city with its invisible cavernous structure. In contrast to their geometric physical appearances, the cities in which we live are gradually turning into dematerialized and fluidized, syncronously ubiquitous environments. The artist elaborately extricates, accumulates, modifies and fine-tunes all kinds of codes and configurations that are secretly lurking in these metamorphosing cities, to sculpture new forms and figurations. It’s a process of scraping out the buried images the faint torchlight vaguely outlines in the darkness of a cave, and copying them onto new canvases using the whole body.

This calls to mind Carlos Castaneda’s concept of two different realities he calls the Tonal and the Nagual Universe. While the former represents an ordinary world of common, causal relationships that is predictabe as if following pre-programmed rules, the latter refers to the sphere of the unpredictable, uncontrollable and unknown. In order to enter this world, one has to accept random factors and accidentally opened doors. If an artist lives only in the former type of environment, this means that he will keep copying the Tonal Universe, as a consequence of which his work will be as predictable as the world that it imitates. Those on the other hand who are eager to conjure up the unpredictable must be constantly open to chance and eventuality. In addition, it is true that “A spell that works today may be flat as yesterday’s beer tomorrow”. The Nagual Universe can only exist if we keep on updating it by our own efforts.
Hiraku Suzuki confronts with his works this uncontrollable world, while his essential posture manifests itself through the eagerness to cast himself into it, fluctuating on several layers across and beyond its multitudinous shapes and patterns.

January 2008
an essay contributed to the catalogue of solo exhibition “NEW CAVE”

The meaning and rank of “drawing” is currently undergoing a process of redefinition. Activities at New York’s Drawing Center, which opened in the 1970s, are blossoming and particularly regarded, art universities in London are establishing center for drawing, and presentations and publications related to drawing have increased significantly. The art of drawing has begun to rise beyond what has been referred to as mere sketching, and carved its very own niche as an autonomous discipline n the realm art. But not limited to art alone, drawing refers to occurrences of creative activity in all fields of expression, and to a creation process that, regardless of the respective work’s style, communicates in the most direct of ways its creator’s ideas.

The Renaissance idea of capturing single objects and events through line contours as a fundamental technique of art and creation – and ultimately, as a way of defining the world – has introduced the alternative “design” in addition to the original translation “to sketch” of the Italian term “disegno”. In China and Japan, letters (Chinese characters) are hieroglyphs that symbolize concrete objects and phenomena, which is why the art of calligraphy in these countries is far more artistic than western writing culture. Above being symbols, Chinese characters are heavily tinged with a pictorial quality. That’s exactly why we see beauty in these characters, and traditionally hold writing in high esteem as a form of art. Charged with a primordial, dynamic kind of “life”, calligraphy has left its distinctive traces even in today’s contemporary art. In situations of creative work, people on both sides of the ocean have always fallen back on the line as a tool to capture parts of the world. When looking at Suzuki’s work, I feel this primitive human aspirations very strongly.

Suzuki’s creative work takes place on various levels. He produces geometric or architectural looking drawings that somehow resemble the Nazca Lines, or, like the works shown this time at TWS, creates “line drawings” by enclosing leaves in mud and projecting the veins’ fossil-like imprints. He also does live painting events at live music venues, “on the road” frottages with shoes, or installations using pieces of asphalt. It is indeed difficult to talk about Suzuki’s work while referring to one particular category or style, however once the observer recognizes the thorough bass of lines that all of his works share, it becomes quite clearly what the artist is alter. Different form the classical in their function as contours to depict objects, sceneries or ideas, in his drawings Suzuki pursues pulsating, real and actual lines that have a life or their own. In the exhibition at TWS, he presents a movie in which several hundred of his drawing are continually morphing. A symbolic display of the essence of Suzuki’s work, the movie is at once an occasion for viewers to witness a wonderful creation process which notions of meaning are stripped off one by one in the chain of morphing, totally unrelated images. Like Aboriginal dream maps, there strange drawings introduces us living in the present to the secrets of primitive vital energy.

For this exhibition, Suzuki collected leaves from trees in the surroundings streets of Aoyama, enclosed these in mud that he found in the same neighborhood, and finally excavated the leaves and the line imprints they left in the mud. His idea behind this rather troublesome archaeological procedure is to highlight the vivaciousness in things and objects of our direct environments, and cause with the lines he carves out an inexplicable, tingling kind of ache in those who look at them. Through his work, Suzuki introduces us to the actual world like an American Indian medicine man.

January 2008
an essay contributed to the catalogue of solo exhibition “NEW CAVE”

Suzuki Hiraku is known for his collaborations with other genres such as music and fashion, his live paintings conducted domestically and abroad, and his creation of frottage* works from the streets of the places he visits. Although Suzuki is often viewed as a ,”street artist,”drawings and paintings are actually the focus of his works. His “GENGA”(derived from the Japanese words for “language [gengo],” “galaxy [ginga]” and “original drawings [genga]’’) series features over a thousand drawings on A4-sized sheets of paper comprised entirely of geometric and organic lines drawn with markers. Most of the drawings were inspired by billboards around town or signs on the road, which Suzuki reconstructed in his mind and generated into hieroglyphic-like forms.

Suzuki’s drawings, on the other hand, involve linking together the central lines in the veins of dry leaves found lying about town, affixing them to the canvas, smearing dirt over them and then “excavating” the veins. The finished works achieve the type of surprise felt upon digging up relics, and emit a mystique that arouses ancient memories. Meanwhile, Suzuki’s murals feature icons he decides upon based on the atmosphere he feels at their locations, and produce immense scale and flexibility through the coupling of the strength of the lines generated from the massive drawings, and Suzuki’s intuitive inspiration.

ln this way, Suzuki Hiraku uses his own methods to create works that transcend artificial and natural borders, discovering memories and slivers of the far past from all kinds of things around town. Looking at Suzuki’s works that are born through a hybrid crystallization of events in the street, archaeological interest and art, one can feel his determination to remain a creative mediator linking memories of past and present “places” and “events” to the future. [Kubota Kenji]

*A techinque involving placing paper over a textured surface and rubbing a pencil or other drawing tool over the paper to draw the pattern.

January 2010
an essay contributed to the catalogue of group exhibition “Roppongi Crossing” at Mori Art Museum

For Suzuki Hiraku, the act of “drawing” involves “reversing” things.

In bacteria sign (circle), which involves spreading earth, embedding dead leaves, and scraping the veins with his hands, the shapes of the leaves become shadows with only the main leaves exposed. The lines and shapes of the circles formed by these veins, whose job is to facilitate the flow of moisture and nutrients, call to mind the flow and circulation of energy. The shapes of the leaves embedded in the surface and the color of the earth wary from panel to panel, indicating that Suzuki creates each piece using the leaves he has at hand and the earth he has at his feet at the time. In this way, the ads of transference and repetition take form and proliferate.

Suzuki himself likens his expression to “dub-like music”. As a result of this reversal and repetition, the materiality of the materials is separated off and traces or new images emerge that resinate each other. At the same time, through this excavation-like act in which his own body becomes the “circuitry”, Suzuki makes viewers conscious of, and attunes their sensitivities to, the fact that the distant past, memories, the future, and the vast unknown lie dormant in the most familiar “here and now”, such as earth and dead leaves.

February 2013
an essay contributed to the catalogue of group exhibition “Son et Lumière, et sagesse profonde”

Hiraku Suzuki’s definition of drawing is broad. He uses the word to encompass the whole of creative expression, extending beyond line drawings to include murals, photography, video, casting, and a variety of other media. He sees drawing as a challenge to generate a new and universal language through which to share and interpret our world, a means of communication entirely separate from the conventional languages we use day in and day out.

The phenomenon of light and its inversion are the two major keys needed to decipher Suzuki’s exhibition, and the entire sequence of his exhibition space is structured around a series of negative inversions［1］ of light and darkness. Visitors are first greeted with the artist’s dimly lit statement printed just inside a dark entrance. As they turn and enter the exhibition space, they are met by a vast, curving void, illuminated in stark white by high bay windows that run along the upper wall for the length of the 55 -meter-long space. The windows shine on Suzuki’s mural Walking Language, which covers the opposite wall and is drawn in silver ink and spray paint.

Just below the windows, 91 silver stencils neatly adorn the wall in another of Suzuki’s works: casting. Suzuki traces the shapes of artifacts from the pages of museum catalogues he has gathered from places around the world. He then sprays silver over the stencils until only the contours of their former selves remain. Meanwhile, artworks Circuit #6 and Circuit #7 generate an illusion of time and spatial reversal, swirling parallel to one another at either end of the space’s arc.

Past the curving void, the contrast flips as visitors enter a small, unlit room. Here 84 pieces of Suzuki’s GENZO series line the walls. Each piece is an impromptu drawing of silver spray paint on black paper that has then been converted into a photograph. The act of photography, or depiction with light, is seen as a method of optical conversion that can render his drawings replicable. And so Suzuki inverts the relationship of the original drawings and the photographs.

Visitors must return the way they came: from the dim room back into the bright corridor, and then outside toward another exhibition space across the way. The deepest darkness of the exhibition awaits just inside. Armed with only a flashlight, visitors are immersed in the dark, cavernous space. On the wall beside the entrance is GENGA #001 -#1000 (video), Suzuki’s massive collection of drawings, which transforms midair as if suspended in space. On the wall ahead, visitors use their flashlight to illuminate Keyhole̶the drawing of an amorphous, luminescent alien figure. Keyhole appears to glow magnificently, as it is made up of reflective strips of material that shines light directly back at the source. On the dark wall opposite Keyhole are GENZO #1 and GENZO #2 . The dynamism of the artist’s flecks and lines come sharply into view when illuminated. A single flashlight as the visitor’s only source of light, the entire exhibit can feel like an underground cave and the farthest reaches of space. ─ Suzuki’s notion and application of negative inversion in his drawings is reminiscent of land art pioneer Michael HEIZER, whose subtractive drawings extract geometric patterns by scraping gigantic lines in the earth. Heizer’s land art is guided by a negative reversal of traditional drawing, which adds material to blank paper. The physical experience of Suzuki’s Walking Language is extremely similar to that of land art; visitors can gain a sensation of being surrounded or absorbed into the work, or they can put distance between themselves and the artwork to gain a bird’s eye view. If Heizer sculpts the land, then Suzuki undoubtedly sculpts space with light.

The essence of Walking Language, which Suzuki drew in his short period of resident production, is readily apparent to the viewer. The mural is inspired by the space, created as a dialogue between the artist and the space in a specific moment of intimacy. Almost 100 years ago, the progressive music of the era profoundly influenced Wassily KANDINSKY to create his series of Improvisations and Compositions. Likewise, both improvisation and composition are e ssential to Suzuki’s work. Kandinsky’s drawings, whose dots, lines, and colors gave them a highly suggestive and symbolic nature, not only pioneered abstract art ̶a completely new mode of expression̶ but they also possessed the same provocation and universality of the murals our ancient ancestors drew on cave walls. Suzuki’s murals, which transform with light and the artist’s movement, seem to connect the distant past with the future, as if either inventing a new language or rediscovering some ancient hieroglyphic script.

Moreover, Suzuki’s drawings also possess musical aspects. The lines of Walking Language emerge as the impulsive response of an impromptu performance. Yet the work’s
structure is both logical and constructive. Suzuki is strongly aware of the space’s horizontal expansion as a corridor, so he first lays the foundations of the artwork’s metaphorical sta with horizontal lines. These lines and dots are then joined by a swarm of signs evocative of letters and other objects. When viewed as a whole, the density of the lines generates rhythm throughout the piece. The silver reflects the natural light that pours in from the bay windows. As visitors move through the piece, light moves in front of them, guiding them and drawing their gaze and attention to the mural. Behind them, they also find that light illuminates the mural. The viewer feels as if light is both guiding and tracking them at the same time. Moreover, the light causes the silver ink to shine white at times but appear engraved in black at others. Similarly, it also causes these same lines to shift between ephemeral existences and primordial entities that have long been etched into time. In this manner, their appearances are inverted time and again. Walking Language is even evocative of concrete poetry, the endeavor to spatialize the tangible, concrete nature of language’s visual aspects. Moreover, Suzuki may even be pursuing a mode of visual linguistic expression beyond that of concrete poetry, since the piece assumes reciprocal and transformative qualities with his application of light.

Suzuki discovers lines to connect the dichotomies of language and picture, light and darkness, and past and future, picking up and connecting the many pieces scattered between them. His approach is one that he describes as “alternative archaeology,” a new way in which to interpret our world. To Suzuki, drawing delineates this kind of attitude. His real and metaphorical lines induce a variety of inversions that build a“ circuit that connects the here and now with the somewhere, someday.”［2］
There is no doubt that Suzuki will continue to question our world and shed light on it through the pursuit of a language all his own.

1─ Suzuki Hiraku often uses the term“ negapoji hanten” in reference to his technique, translated here as “negative inversion”
2 ─ Quoted from Suzuki Hiraku’s statement.

December 30, 2015
an essay contributed to the catalogue of solo exhibition “Signs of Faraway”

　60×6メートルという圧倒的なサイズの《歩く言語》(2015)は、移動することと見ることが溶け合う不思議な回遊空間だ。マーカーとスプレーで銀一色に描かれた曲面をその縁に添い歩いてゆくと、光になった色彩が内面へ浸透し、軽やかに振動する。対面の高い水平窓から射し込む光の運動により、歩みをすすめるごとに壁面は多彩な表情を見せ、その現れては消えてゆく揺らぎの中から見る者の内部に見たこともない光景が生み出されてゆく。ストロボのような強度を持ち、小刻みなリズムを伴いながら、描くことの起源や言葉の原子の軌跡を手繰り寄せる新しいパノラマだ。

　あるいはその表面をゆっくり眺めながら移動してゆくと、光が行く手を遮ったり、背後から光が追いかけてくるような感覚に捕らわれる。そうした偶発的な瞬間を留めようとカメラのフラッシュを焚くと、チカチカ壁面全体が脈動し、星屑のように瞬き、新たな天体が湧出してくる。

　その回廊の始まりと終わりに向き合うように対置される《circuit》(2015)は、画面中央の小さな点を起点に、シルバーインクで描かれた記号の断片が何重にも渦巻きながら大きな銀河を展開してゆく宇宙の時計のようなドローイングである。

　《歩く言語》の壁の対面に並列された《casting》(2010-2015)は、世界の博物館のカタログページの上の遺物のイメージの輪郭をなぞり、切り抜いてステンシルをつくり、そこに銀のスプレーを施すことで、かつてあった物質が輪郭と影だけになって取り残されるシリーズだ。元の物質の記憶や歴史を抹消されたその銀のイメージは、未知の物体のような不可思議な輝きと立体感を伴い、たち現れてくる。物質の痕跡の型を取り、ネガをポジに反転されることでイメージを生成させるこのプロセスは、写真現像や金属鋳造を想起させ、時間や空間の反転さえも連想させてゆく。新しい道具で古代の遺跡を発掘していたら未来のオブジェが形を表してきた。古代の遺跡が得体の知れないオーパーツとなる。

　《GENZO(写真)》(2014-2015)は、黒い紙に銀のスプレーやマーカーで描いたドローイングを写真撮影し、印画紙に転写した作品だが、かつて写真は銀の化合物であり、この作品は軌跡を捉えた長時間露光写真や印画紙に直接物体を置いて感光させるフォトグラムといった特殊な写真技法を想起させながら、ネガティブハンド(古代の洞窟に残された手形)をドローイングの起源と考える作家の反転の身振りへの思考を明確に写しだしている。

交通標識等に用いられる反射板を使った《鍵穴》(2015)は、円や四角など大小様々な反射板を彎曲した図形の中に配置した作品で、光を向けると光源へ反射し、見る者の網膜に煌めく光の残像を焼き付ける。それらの反射板の集合は別世界へ通じるワームホールのような気配を湛え、見る者自身も発光する生命体となって、その鍵穴へ吸い込まれてゆくのだ。

　私たちは知らぬ間に多様なリアリティを掘り起こしている。視覚一つとっても、眼球は1秒間に３回見る方向を変え、複数の視点から多様な光を同時に受けとめ、情報を収集し統合している。そうしたプロセスが進行しているがゆえに私たちは広範囲に焦点の合った視覚を獲得できているのだ。それは無自覚な作業だが、そのことにより私たちの意識／無意識は、分厚い時間の織物と心のプログラミングの構造をいつも探り続けることになる。そしてその無意識的な探求作業こそが古代と未来をつなぐ創造の秘密なのである。

　鈴木ヒラクのドローイングは、ネガティブハンドがそうであったように新たな時代のノーテーション・アートなのかもしれない。ノーテーションは通常、ダンスなどの身体運動を表す記譜法を意味し、有名な振り付け師ルドルフ・ラバンが考案したラバ・ノーテーションのように、ある空間の中の身体部位や運動時間、体の向きや高さなどを示すイメージ・システムだが、グラフィックとしても興味深い構成と奥行きを持つ。NASAがこうしたノーテーションを応用し、宇宙における身体の特別な動きを記録するための研究を行ったこともある。鈴木ヒラクのドローイングもまたそうした無重力のダンスのように、空間のみならず時間や次元さえも巻き込んだ身体運動の足跡なのだ。そうしてドローイングは文字や図形ばかりではなく、ダイヤグラムやマトリクス、光や音や映像を融合し、見えない世界をも統合する包括的なノーテーションとなる。だからその場にいると作家の宇宙の中の身振りや思考をなぞることができるのだ。それはドローイングという身体行為により既存の記号や表象の体系を解体し、それらの破片を再び寄せ集め、新たな言語を生み出そうとする冒険でもある。身体というマルチプル・オーガンを刷新させる未来の地図、鈴木ヒラクのドローイングは、特別な場の力を得て、ようやくその全貌の片鱗を表し始めたように思う。

2015年7月
「AC2［エー・シー・ドゥー］」に掲載（発行：青森公立大学国際芸術センター青森）

When I view art by SUZUKI Hiraku, I sense how he yearns for the meaningfulness of stripping away all meaning, and the inevitability of removing all that is inevitable, in order to be pure to the fact that his art is a negative of that which is so brutally prescribed by modern society, particularly the information society. At the same time, he brings together materials, as if by coincidence, but makes careful preparations to record the decisive moment of their encounter. And, after all that, when the ‘form’ that finally appears is void of energy, instead of bemoaning that fact, he asserts that it is simply reality as a negative. What I sense is the decisiveness of that audacious judgment.

Simply put, it is like this. Rather than using unclear areas that are the source of meaning that would allow criticism with regard to the unconscious being absurd, confused, and at the edge of reason, by interpreting that itself as reality as a negative, SUZUKI Hiraku turns reality into the surreal as a positive. To be more specific, it is like a dream in which actual events that occurred while you were awake are automatically ‘recorded’ as soon as you fall asleep so that they are not forgotten, and the content recorded in that dream being automatically ‘developed’ like film. Therefore, rather than being a work of art, it comes from further back: a drawing or photo made as a recording. At this point, the things assumed to be extensions of our humanity, such as hands, pens, and white paper, can no longer be used. Because that’s the opposite approach. Suzuki thinks of the non-human subject as being the medium, as a negative, for the purpose of automatically recording reality in dreams.

Perhaps I got ahead of myself. Firstly, let’s focus on the ‘form’ that we can see. Look at the ‘form.’ People think about what it is, but one must admit immediately that it is nothing. (The fastest way to do this might be to check out the artist’s gorgeous book GENGA.) Next, you might attempt to grasp the spatial relationships?inside and outside, or front and back, or measurements of size. Because through those relationships a three-dimensional order is attained. But this approach will probably not go very well, either. Inside and outside, and front and back can be reversed. Even size does not give a fix, because it can expand or contract. Not knowing what else to do, you might borrow the power of genre, introduce an epistemological framework, and try to understand the modality from there. Painting, drawing, photography, collage, sculpture, relief, graffiti, prints, videos, etc., etc. This approach will probably not go very well, either. Using genre-based standards of value judgment would seem to reduce it to the level of no longer having any value at all. But looking at it, you the viewer can tell intuitively that it is not void of value. In the end, you may be tempted to escape to the easy narrative of seeing it as formative art based on some kind of profound thought. But that would be wrong. That’s not the case, either. Because you cannot understand SUZUKI Hiraku’s art while still holding onto your ‘form.’ You must enter a dream.

However, wishing to reach inside a dream while knowing that you won’t be able to is escapist and decadent. SUZUKI Hiraku wouldn’t do something so uncouth. He boldly asserts that the dream is reality, and that this is a record of reality. Struck by the record, you can live as though dead to our surreal world.
Hurray! Everything is positive.

Which is to say that what SUZUKI Hiraku does, trying to make you sit up and take notice, is simply audacious and decisive. It is only its transparent form that is floating in the air.

September 2015
an essay contributed to the solo exhibition “GENZO”

The Japanese artist, Hiraku Suzuki’s work in drawing focuses on the medium’s ability to fluidly move between image and language. Since my early days as a philosopher (with a focus on language) and a poet in college, I have also been interested in the relationships between the visual and the textual. Hiraku works in many ways including: works on paper, wall drawings, video and performance. For me personally, it is his large-scale installations and video projections that hold the most promise – I like the idea of thinking about the way drawing, language and symbols can affect the body.

2017 Jan.
The FID Prize International Drawing Contest 2017 Digital Catalogue

I saw a planet of fringes

Full of fine silver tassels

Not for ornament, but as its

True nature.

Fusa, fringe, franja, ange.

Fusatt, fussa, azusa, hanabusa.

Fusa, fuse, tube, kuda.

A fuse blazing with silver flames

Burning up toward the starry void.

Star, stella, constellation.

I know two books which end with the word “star”.

Dante’s Divine Comedy ends with “stella”,

Thoreau’s Walden with “morning star”.

Books ending up with a sigh of the star.

Books yearning for a flicker of the star.

At the limit of the fuse of fringes,

There are mysterious lights of distilled naphtha

Floating on the black sea of Shiranui.

End without end, fringe without fringe, glistening.

You call it constellation, galaxy, genga, gengo,

A milky way of languages.

At the bottom of the limitless night,

A planet of languages

A comet

A supernova

A falling Ikaros of rebellion

Shimmering dark, dark.

December 2017
An improvised poem written and read at Arts Maebashi

It often happens that thrill of something exciting right before my eyes inspires me more than some remotely exotic places that I explore. For example, it can be a moment in which I spot two branches a tree that fell onto the asphalt in a way that they form what looks like hieroglyphic character or some kind of signal. This triggers the sensation of a silent encounter with something new yet somehow familiar, like a keyway to a different time and space that appears in the middle of the here and now.

I want to capture – through drawing and looking at the signs that have been drawn – the moments when the body’s internal memory and that of the outside world fall together on uncharted areas, like perfectly fitting pieces of an ever-transforming puzzle.

The method I have in mind is closer to “excavating” things that are hidden in the here and now, than to “depicting” personal imaginary events through the act of drawing. Therefore, I’ve been focusing as much as possible on materials and places in my direct environment. The works that come out of this are again keyholes for people – including myself – who look at them, and I hope that they will make use of these holes to peep into the new spheres that are stretching on the other side.

January 2008
contribution to the solo exhibition catalogue “NEW CAVE” published by Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site

I have been drawing since I was about 3. There used to be a lot of blueprints at my home because my father was an architect and I used to draw something like a moai on their reverse. I also spent a good chunk of my childhood excavating unknown things like earthenware fragments, minerals, and fossils in my neighborhood. When I was 10 years old, I saw a small photo of the Rosseta stone and read stories about deciphering the glyphs, which completely fascinated me. Then I wanted to become an archaeologist. 

Although now an artist my practice, including works on paper, on panel, mural, installation, frottage, live drawing, video and so on, are reference to the new possibilities of drawing in the world today. The method I have in my mind through the act of drawing, however, is still closer to ‘excavating’ things that are hidden in here and now, than to ‘depicting’ objects/scenery/ideas in a classical way. 

Archaeology was considered a collaborative work for artists and museums until the 19th century. Today, now there are the vast uninterpreted fields from our past. I can’t help thinking about the genesis of drawing which has the synchronia with the beginning of language in the human history. There are various hypotheses on it, but I think the most relevant one is the 29 lines that the upper Paleolithic people carved on common stones around 35 thousand years ago – which are thought to have been recorded the days between phases of the moon. There were 4 elements in the occurrence; the light, the transformation, the stone and the act of carving. Those carved lines might be thought of as the most primitive form of glyph or drawing – they function as the record of time past and also as the signal of the future.

Obviously, my country Japan is facing an unprecedented crisis now, and this is no longer the local concern in Japan, nor is the issue’s scope limited for the people of today. It is particularly at times like this that one starts to ask questions about the strong relationship between what we call art and humanity in a real sense. In order to do so, we should know that the moment we call ‘now’ is not a dot, independent from past and future. I believe, by the act of drawing and looking at the signs that have been drawn, we can take ‘now’ into our own perspective, because drawing has always been the intersection of direct human circumstance and the long cosmic time since its birth, and it will continue to be.

My exhibition ‘Glyphs of the Light’ at Wimbledon will consist of about 40 pieces of new drawing work and some sculptures which I am producing during this residency in London. Every work represents the intersection of my intimate relationship with phenomena taking place on my current environment at Chelsea as well as my interest in archaeology and language. Recently I have been greatly inspired by the residual images of transformation of sunbeams streaming through leaves on the road. I hope my works to be as the creative mediator – linking subtle memories of ‘signs’ and ‘phenomena’ with the future.

July 2011
contribution to “Bright6” published by The University of the Arts London

Drawing exists between pictures and language.
In fact, drawing and writing were once one and the same. Long before we began using what we now know as language, the ancients engraved the rhythms of the celestial motion into mammoth tusks, onto cave walls, and across the face of ordinary stones. This is how humans invented signs. Letters and language were developed by humans to orient themselves within a world where the unknown is constantly present. And we have managed to survive as a species by using language to better study and relate to our world. But is anyone living today capable of fully grasping new occurrences within our world’s ever-growing expanse of time and space and pointing to the future with only our existing concept of language?

My methodology interprets drawing as an alternative archaeology that corresponds to our world in the present progressive. I begin by first slipping into the world through the ubiquitous cracks that already exist and deconstructing them into dots and lines.

Take, for example, the wavering shapes of the sunlight as it filters through the trees onto the ground, the chipped white lines in the asphalt, or the curving veins of a leaf. An indecipherable mathematical formula, graffiti, veins bulging through the skin, the outlines of buildings, the topography of a rice terrace in China, the sound of footsteps echoing in an underpass, and an animal’s trail. The grooves on a record, the branches of a tropical plant, an afterimage induced by car headlights, the fictional company logo seen for a fleeting moment on a billboard in the scene of a science-fiction movie, the path of a mosquito flying through space.
I look at the dots and lines within them. I look at them from forward and behind. I trace them. Use my body. Recompose them. Produce an effect. Repeat.

In this way, I connect fragments of the deconstructed world and generate new lines, which become the circuit that connects the here and now with somewhere, some time. Neither pictures nor words can be transmitted in this circuit. Only signs can. I excavate the signs in the ever-changing present moment. My practice is to discover and acquire flickering signs of light in the faraway, in the dark and widening gap between drawing and writing.

March 2015
contribution to the solo exhibition “Signs of Faraway” at Aomori Contemporary Art Centre

Drawing Tube is a new laboratory for alternative drawing research, discourse, and practices that focuses on archiving and sharing the results.

By the word “drawing” we mean something not limited to making lines on planar surfaces, but rather the process of generating new lines or discovering invisible lines, in space and time, with all possible universal linear phenomenon as subject.

Dance might be considered making lines in space. Music might be considered making lines in time and pitch. Photography might be considered making lines with light. Text might be considered making lines in language. Whether roads on maps, constellations in the night sky, the complexity of our anatomy, our world is often first apprehended through acts of making lines.

Drawing Tube will conduct an irregular series of events, lectures, and exhibitions, with the aim of making lines, and opening connecting “tubes”, between disciplines. Additionally, through presentations of the evolving archival record, we will work to elevate the fundamental discourse about the definition of drawing, within a perpetually changing exploration of the present and future tense of relational aesthetics.

The cylindrical plastic vessels we use to carry our works on paper are also called “drawing tubes”. And in this spirit, Drawing Tube will be a moveable laboratory, unbound to any one venue, but rather a portal tube of connection potential, each time assuming different shapes, forms, and locations. Drawing Tube will be like wormholes in time and space, a transparent worm traveling the surface of a clear pond.

First we will begin by exploring the many portals in the opinions, and sensibilities of those around us. We hope to deserve your attention.

August 3, 2016
(DrawingTube.org)

venue: Arts Maebashi (Gunma, Japan), dates: 20.10.2017 – 16.01.2018, works: Constellation #01-#19 / Archetype of City / GENGA #001-#1000 (video), photo by Ooki Jingu, Shinya Kigure

venue: rin art association (Gunma, Japan), dates: 18.10.2017 – 14.01.2018, works: Road (Entrance, Middle, Exit)/ Drawing Tube / Epigraph #1, photo by Shinya Kigure

venue: Art House Asobara (Chiba, Japan), dates: 08.04.2017 – 14.05.2017, works: Warp / Road (Entrance, Middle, Exit)/ Road (Gap)/ Drawing Tube / Orbit and Signs (#01-#03)/ GENGA #001-#1000 (video) / Cross Section of the Meteor / Eishoji Tunnel, photo by Keiichi Murakami

venue: Pedestrian subway in Oita city (Oita, Japan), dates: 18.01.2017 –   , photo by Takashi Kubo

venue: Yinchuan Museum of Contemporary Art (China), dates: 09.04.2016 – 10.07.2016, work: GENGA #001-#1000, photo by Liu Feng

venue: Museum of Architecture (Wrocław, Poland), dates: 03.12.2015 – 31.01.2016, works: Entering the pen point / casting, photo by Kazuki Nakahara

venue: Misa Shin Gallery (Tokyo), dates: 25.09.2015 – 07.11.2015, works: GENZO / GENZO (photo)/ Excavated Reflections (Double Eclipse)/ Casting, photo by Keizo Kioku

venue: Aomori Contemporary Art Centre (Aomori, Japan), dates: 18.04.2015 – 17.05.2015, works: Walking Language / circuit #06, #07 / casting / GENZO / GENGA #001 – #1000（video)/ Keyhole, photo by Kuniya Oyamada

venue: Galerie du Jour Agnes b. (Paris), dates: 11.04.2015 – 23.05.2016, works: GENZO / GENZO (photo)/ wall drawing, photo courtesy: Galerie du Jour Agnes b.

venue: BankART Studio NYK (Yokohama, Japan), dates: 18.09.2013 – 04.11.2013, works: casting / Excavated Reflections (Mammoth Tasks) / circuit #01, #02, photo by Ooki Jingu

venue: Daiwa Foundation (London), dates: 21.03.2013- 10.05.2013, works: circuit #01-#03 / casting / Glyphs of the Light (frottage), photo courtesy: Hiraku Suzuki Studio

venue: Jivan Sikshan Mandir Ganjad (Dahanu, India), dates: 18.02.2013 – 20.02.2013, works: Language Room, photo by Toshinobu Takashima

venue: WIMBLEDON space (London), dates: 08.08.2011 – 16.09.2011, works: Glyphs of the Light #1-#8 / Glyphs of the Light (frottage) #1-#8 / Deciphering the Light #01-#24 / Untitled Signals #1-#4

venue: Mori Art Museum (Tokyo), dates: 20.03.2010 – 04.07.2010, works: Road, photo by Keizo Koku, Ooki Jingu

venue: 21st Century Museum of Contemporary Art, Kanazawa (Ishikawa, Japan), dates: 29.04.2009 – 30.08.2009, works: GENGA #001-#1000 / bacteria sign (circle) #01-#86 / Echo Drawing, photo by Kazuo Fukunaga

venue: Tokyo Wonder Site Shibuya (Tokyo), dates: 02.02.2008 – 02.03.2008, works: bacteria sign #01-#31 / Road Sign (Spiral) / NEW BAT / GENGA #001-#900(video), photo by Ooki Jingu

venue: Art Front Gallery
address: Hillside Terrace A, 29-18 Sarugaku-cho, Shibuya-ku, Tokyo 150-0033
dates: April 27(Fri) – May 27(Sun) 2018
hours: 11:00 – 19:00 (closed on Mondays, May 3-5)
opening reception: April 27(Fri) 18:00 – 20:00

venue: Hiratsuka Museum of Art (Kanagawa, Japan)

dates: April 21 (Sat) – June 17 (Sun) 2018

hours: 9:30-17:00 (admission until 16:30)

closed day: Every Monday (open on Monday April 30)

venue: CARREAU DU TEMPLE / STAND B19
4 rue Eugène Spuller 75003 Paris
dates: March 22(Thu) – 25(Sun) 2018
hours: 11:00 – 20:00 (19:00 on Sunday)

venue: Shizuoka Prefectural Museum of Art
dates: December 23(Sat)2017 -February 28(Wed)2018
hours: 10:00–17:30 (last admission at 17:00)
closed on Mondays

dates: November 12 (Sun) 2017, 14:00-16:00
Venue: Tokyo Arts and Space Residency
Address: Arts Kikukawa 1F, 2-14-7 Tatekawa, Sumida-ku, Tokyo 130-0023

Abdelkader Benchamma, who is one of the world’s leading artists in contemporary drawing scene and has shown works at 54th Venice Biennale (2011), The Drawing Center (New York, 2015) and Sharjah Biennial 13 (2017), will have an experimental dialogue (Drawing+Talk) with Hiraku Suzuki who explores and seeks to expand the realm of drawing focusing on the relation between picturing and writing.
> http://www.tokyoartsandspace.jp/english/archive/2017/10/r1010.shtml
 

<related exhibition> Wall Art Project “Point To Line No.2 / Abdelkader Benchamma“
October 27 (Fri) 2017 -February 28 (Wed) 2018
venue: Agnes b. Ginza (Tokyo)
> http://www.agnesb.co.jp/

dates: October 20 (Fri) 2017 – January 16 (Tue) 2018
venue: Arts Maebashi (Gumma, Japan)

■“Genesis of Writing”- A dialogue with Kyuyo Ishikawa (calligrapher) is included in the exhibition catalogue published by SAYUSHA Inc.

■Hiraku Suzuki Live Drawing Performance / Dialogue with Ryuta Imafuku (a professor of Anthropology and Communication at the Graduate School of Global Studies, Tokyo University of Foreign Studies, Japan)will be held on December 9(Sat) 2017.

個展カタログ
発行：財団法人東京都歴史文化財団トーキョーワンダーサイト
発行日：2008年3月31日
執筆：鈴木ヒラク、今村有策、伊藤俊治

Hiraku Suzuki has deepened his methods and expanded his processes, and assembled a wide range of expressions all captured under the word ‘drawing’. Drawing, he says, signifies ‘not only lines on a two-dimensional plane, but ways of generating new lines from time and space; again, drawing can be the discovery of potential lines within linear phenomena of the whole universe.’ (1) Suzuki says what he does is between ‘picturing’ and ‘writing’. (2) His lines are not created out of nothing, but are parts of pre-existing possibilities. His actions therefore come close to writing, but prefigure meaning. Suzuki equates this with ‘excavation’, that is, with a methodology neither arbitrary, nor chance, both within and outside the artist’s hands. It is a metaphor, but how does his art actually occur?

We could say, Suzuki’s lines are, on the one hand, results of his bodily movements, but on the other, created somewhere detached from him. That is, his lines are incorporated, with their own internal senses of time and history. Compare this with writing: Chinese characters, used in Japanese under the name of Kanji, are said to be the world’s only ideogrammatic system. They evolved from pictograms and through numerous stages of usage became fixed as line symbols. Kanji have acquired general acceptance by repeated processes of abstraction and reordering. Take another example. Suzuki’s lines can refer to a larger, absent whole. Recall how Yoko Ono said of one of her works, ‘this line is a part of a very large circle.’ (3) Her statement is often cited by Suzuki. He spent a great deal of time on the lines included in his drawing collection, GENGA. The title is a portmanteau neologism from GENGO (language) and GINGA (galaxy). The book contains what look like embryonic letters, still undergoing evolution. Their profusion is a premonition of some greater whole, yet to come.

A moment of ‘excavation’ contains a temporal ambivalence. Present and past come together in friction. But at this point, potentiality is made visible, resolving itself into a trace. Suzuki’s early work articulated these conflicting issues in live drawing. He used OHP sheets to turn lines into momentary blinks of light. Later he used silver ink or reflective plates on black bases, inverting expectations of positive and negative. It seemed he came to conclude that his lines acquired temporal eternity, and thus could continue to exist in space. This shift was like the move from Impressionism to Symbolism, that is, from a striving to fix one moment of light on a picture plane, to conceiving all light, from all the moments of time, on that plane.

Suzuki’s methodology is indeed ‘excavation’, in the sense that he seeks to express what is beyond time, but still occupying given space. His method has now gone on to a higher level. It is tempting to say his ‘excavations’ are conducted to dig out the crossroads between time and space. It may follow logically that Suzuki’s work now emphasises the concept of space. His most recent work shows what appear as galactic systems, laid out on huge surfaces. He defines his act of drawing as creating a tube between things, with the movement through it, bringing the notion of ‘transport’ to the fore. (4) Accumulated lines discover orders through their mutual relationships, and all on their own determine their shapes and expanses of space.

Starlight was emitted mind-bogglingly long ago. When it reaches earth, the star has moved far into the future. What Suzuki presents is not the representation of space or constellations, but galactic order, a structure where past, present and future compress. This is a space where you recognize the gap between ‘I’ and ‘a world other than I’. When we look up at a starry sky, we are dazzled and lose the sense of where we are. When I look at Suzuki’s work, I now know where that dazzlement comes from.

(1) Hiraku Suzuki, What is a drawing tube?, August 3, 2016, Drawing Tube.org
(2) Discussion between Kyūyō Ishikawa & Hiraku Suzuki: The origins of words in, Flap-flop, Clap-clop: A Place Where Words Are Born, Sayūsha, 2017, p. 11.
(3) Instructions for Blue Room Event, Yoko Ono, 1966.
(4) See Note (1) above.

April 2018
an essay contributed to the solo exhibition “Traffic”

鈴木ヒラクの美術活動における現在に至るまで、作品に使用している素材とそれらへの視点、作品集などについて。

– 創作するという行為を一番最初に意識したのはいつ頃、そしてそれはどのように発展していったか、お聞かせ下さい。

　3,4歳の頃から絵を描くのがただただ好きでした。それは何も特別なことではなく、ただ線を引くこと、それによって紙の上に何かの現象が起こることがとても不思議だったし、それは今でもそう思います。ただ、10代半ばに音楽を作り始めてからの5年ほどは、音楽活動にすべてを費やしていました。90年代後半は自宅録音でダブとかアブストラクトと呼ばれるような音楽を作って、東京のクラブで毎月ライブをしていました。
　大学では映像を専攻していたのですが、あまり映像は作らず、音楽ばかりやっていました。そんな1999年の春（20歳）に、神奈川県の河原を散歩していたとき、宇宙船のような形をした、長さ3.5mほどの腐りかかった巨大な流木に出くわしました。この流木に何か惹かれるところがあり、映像と写真で観察を始めました。そして、それを2tトラックで河原から運んで来て、大学の地下室にインスタレーションしました。移動の過程で木が割れて、石とか、虫とか、いろいろ出てきました。破片がだんだん土に変化していって、そこに小さな芽が生えてきたりもしました。それからまた小さな破片までひとつ残さずに集めて、流木をトラックに積み込み、元の川の同じ場所に戻すところまでを記録したのです。結局半年がかりのドキュメンタリープロジェクトになったのですが、これがじぶんにとって原点となる作品かもしれません。
　それから、音楽活動も2000年（21歳）頃にはだんだん宅録よりも、外で音を録音する方向（フィールドレコーディング）に向かっていきました。雨の日に新宿の雑踏でコンタクトマイクを使って音を集めたりしたりしていました。同じ頃、身の回りで掘った土や、街路樹から集めてきた枯葉を使った作品を作り始めました。『bacteria sign』というタイトルで、土の中に枯葉を並べて埋めて、その葉脈を発掘するという、架空の化石のような平面作品です。また同時に、音楽ライブの代わりに、クラブでも土を使ったライブペインティングを始めました。どちらも変化しながら現在まで継続しているシリーズです。
　こんな感じで、音楽活動と美術活動がフェードアウト／インしていって、気づいたら10年以上美術活動をやっています。そして最近は白い紙にドローイングをすることがだんだん中心になってきています。それと同時に、そろそろまた、時間軸上にドローイングをするように音楽を作りたいな、とも思い始めています。ちなみについ先週、ポルトガルのネットレーベル「test tube」から、友人と2人で作った音楽がリリースされました。昨年ブラジルのミナス州で鉄を叩いて音を出し、録音した音源で、『Beam Drop』というタイトルです。フリーダウンロードできるので、ぜひ聴いてみてください。
http://www.monocromatica.com/netlabel/releases/tube222.htm

– 紙とペンのドローイングだけでなく、土や泥、もしくは石などが素材となっている作品も多数ありますが、これらはどのような経緯で作品の素材として決定なさるのでしょうか。またそれらに対するヒラクさんの視線や、どのように捉えているのかも是非お聞きかせください。

　僕がやっているのは特別なことじゃないと思っています。身の回りにある物質とか技術を使って、やっています。画材屋がなくても、たとえ石器時代の前に生まれていたとしても、どこかの星に残された最後の一人になって文明の記憶を失おうと、その辺にある枝か石か指なんかを使って同じやり方をすると思います。
　それと、土やアスファルトなど、外で素材を集めるというのは、先述の流木の移動プロジェクトがひとつのきっかけになっていると思います。都市のアースワークという言い方もできるかもしれません。土自体は、都市のいろんなところにあって、道路の中央分離帯や、ビル群の植え込みにもあります。でもそれは昔からあったわけではなく、どこかの山からトラックに乗せられて運ばれて来ている、住所不定の自然であって、そこに惹かれるのだと思います。
　また、都市自体も、物質レベルではひとつの自然として捉えることもできると思います。ビルの外壁素材も鉱物や砂なわけで、ビルの谷間を、砂丘を想像しながら歩くとか。道路のアスファルトも古代生物の化石、石油からつくられているので、アンモナイトの上を歩いているという想像だってできます。マンホールは地下水脈だし、グラフィティは岩絵のように捉えることもできます。こうしてみると、都市全体がなにか他の惑星で、落ちている木の枝、路肩のリフレクター、看板なんかが未だ解読されていない象形文字に見えたり、地下道の空調が出す断続的な音が何かのシグナルのように聞こえたりします。これは神秘主義的なことではなく、少し目線を変えて、いまという時間やここという場所の中にある、いつかという時間やどこかという場所に繋がっている亀裂をよく見るということです。

– 東京を拠点にされていますが、創作活動の場として他の街や国、もしくは全く違う環境で興味のある所はありますか？もしそうであればそれはどういった場所なのでしょうか。

　これまで作品が色々な街や国に連れていってくれたし、色々な人に出会わせてくれました。だから、自分から行くというより、作品が先にあって、それに導かれるまま移動を続けているという感じです。ただその中でもブラジルはいつまでも僕の深いところにあり続ける国です。昨年1ヶ月居ただけでしたが、いつか長期で住みたいですね。

– 2010年のはじめにリリースされた1000枚のドローイングからなる作品集『GENGA』というタイトルは言語（GENGO)と銀河（GINGA)が一つに合わさった言葉ですね。これはヒラクさんの作品世界がとても簡潔に表れているタイトルだと解釈していますが、このタイトルに至った背景はどのようなものだったのでしょうか。

　2004年から、A4のコピー用紙を半分に折って、中心に折り目をつけてからマーカーでドローイングをした記号のような絵を描きためていました。最初はタイトルもなかったし、シリーズとか何も考えていなかったのですが、世界中どこに行っても現地でコピー用紙とマーカーを手に入れて、他の色々な作品と並行しながら描いていました。それが600枚を超えたくらいの時に、紙の束がすごい厚さになっていることに気づいて。そして、 ふとこれは文庫本にしたいと思ったんです。今まで見たことがない辞書のような本になるんじゃないか、と。それで、「言語と銀河のあいだ」という意味で『GENGA』（原画）と名付けました。言葉遊びというか、ラップのようなタイトルなんですが。言語も銀河も変容するアーカイブであって、その中で架空の言葉を書いてみるとか、架空の星座を夜空に見つけるとか、そういう行為に近いことをやっていると思ったからです。
　『GENGA』に関しては、このタイトル自体にインスピレーションをうけて、1000枚まで進んでいったという面もあります。これに限らず、タイトルが自分を導いてくれることもあるので、そこですべてを言い尽くさないように、少し遠くに投げるようにタイトルをつけることが多いです。

– 海外でも作品を発表されていますが、日本国内で得る反応の違いはありますか？

　もちろん国や都市によって傾向はありますが、国によっての違いというよりは、見る側の個人的な記憶に結びついて反応が変わってくることが多いようです。

– 存命しているアーティストでヒラクさんが共感を抱いている、または尊敬している人は？

　Jonas Mekas、Christophe Buchel、KAMI、Matt Mullican、Anish Kapoor、木村友紀、Miranda July、Tony Conradなど。

-最後に、 2010年12月に東京で個展、そして新しい作品集のリリースを予定されていますが、今後トライしてみたいこと等も含めお話をお聞かせ下さい。

　個展は全て新作で、マーカーを使った点描画のシリーズと、グラファイトとスプレーを使ったドローイングの２つを主に展示します。このスプレーを使ったドローイングが『鉱物探し』（Looking For Minerals）という本になります。これが『GENGA』に続く二冊目の作品集です。
和綴じ製本で、資料集のような趣の、なかなか変な本になりそうです。
今後もドローイングをさらに追求していきますが、本を作るのはやはり面白いので、壁画の写真を集めた大きな作品集とか、絵本なんかも作ってみたいですね。

2010年12月15日
CAT’S FOREHEAD | Journal｜鈴木ヒラク インタビュー

　洞窟画はどのように生み出されるのだろうか。

　例えば洞窟の闇のなか、火をともしながら周りを見渡すと、おびただしい潜在するイメージがうごめいているように感じられる。岩の塊や鍾乳洞の先の形をきっかけに、そのひとつを自らの身体感覚を動員し描き出してゆく。あるいは夢や陶酔といった意識変容状態を手掛りに、闇に脈動する多種多様な線や面を引きずり出してゆく。そこは言わば形態が湧出し、意味が生成する場であり、新たなイメージを発見し、掘り起こす交感の場だったのだ。あるいはその場は原始の人々にとって生き延びる知恵の秘められたアーカイプのようなものであり、洞窟の壁面こそがそうした膨大な情報に触れるためのインターフェィスだった。洞窟そのものが一種の記憶装置や投影装置であり、洞窟空間自体に意味や形態を生みだしてゆく仕組みが孕まれている。

　鈴木ヒラクは我々の住む都市をそのようなものとして認識し、感知しつづけてきた。だから彼の作品は不可視の洞窟の構造を持ってしまった我々の都市の洞窟画のようなものといえるだろう。その幾何学的な物理的外観とは異なり、我々の住む都市は非物質化し、流動し、同時性を持った遍在する都市となりつつある。その変容する都市のなかで、秘められ、潜在する様々な記号や形態を精緻に救いだし、研きあげ、集積し、編集し、新たな形態を紡ぎだしてゆく。それはまさに洞窟の暗闇のなか、か細い燭光を手掛りに理もれたイメージを掘り出し、新たなキャンバスに五体を駆使しながら転写してゆく行為そのものといえるだろう。

　カルロス・カスタネダがトーナル・ユニバースとナグアル・ユニバースという二つの世界の違いを述べたことが思い出される。つまり前者は日常的な因果関係に支配された世界であり、あらかじめ記録されているかのように予測可能である。それに対し、後者は予測不能な、コントロールできない未知の世界であり、その世界へ入り込むには無作為の要因を受容したり、偶然の扉が開かれなくてはならない。もしアーティストが前者の世界にのみ存在しているのなら、トーナル・ユニバースをコピーしているに過ぎず、その作品は自分がコピーする世界と同じように予測可能である。しかし予測不能のものを呼び出そうとする者は、自らを積極的に偶然性と無作為性に対して開きつづけなければならない。しかも「今日効いた呪文は明日には気の抜けたビールのようになってしまう」のである。ナグアル・ユニバースは常に自らの力で更新され続りなければならない。鈴木ヒラクの作品には、その予測不能世界と対峙し、そこへ自らを投企しようとする本質的な身ぶりが多様な形態を超えて何重にも揺らぎながら印されている。

2008年1月
個展「NEW CAVE」カタログに掲載

　昨今改めて「ドローイング」の意味や位置づけが問い直されている。１９７０年代に開設されたＮＹのドローイングセンターの活動が活発になり、注目が置かれ始めており、ロンドン芸術大学ではドローイングのセンターを開設し、様々な分野のドローイングの発表そして出版が行われ始めた。ドローイングはこれまで、スケッチやデッサンと呼ばれた下絵としての意味合いを越えて、明らかに違う位置を占め始め、それ自体が作品として自立するものとして認知されてきている。ドローイングはアートの領域のみならず、すべてのクリエイティブの領域で行われている創造的なエスキスの瞬間であり、それは作品の様式などにとらわれずに描かれているだけに、作家や作品の思考の運動そのものであり、生成過程そのものが見えてくる。

　もともとイタリア語のディゼーニョという言葉が素描を意味し、ルネサンス期においてすでに個々の事象、事物に線によって輪郭を与え明確に捉えることが芸術あるいは創造の根本と考えるすなわち世界を規定することに他ならないことが議論され、後に「デザイン」をも意味することになる。中国、日本においては、文字すなわち漢字は象形文字であり、具体的な事物や出来事が文字として置換されているがゆえに、われわれには西欧におけるカリグラフィーをはるかに凌駕する書道という文字の芸術を持っている。漢字は記号である以前に絵としての性格を色濃く持つ。であるからこそ私たちは書に美を感じ、伝統的に高位の芸術として捉えられてきた。書は生命的な躍動感と世界創出の瞬間を捉え続け、現代美術にも多くの影響を残している。人は洋の東西を問わず、世界を切り取り、創出するとき常に線と向かい合ってきた。鈴木の作品と活動を見るとき、私はこの初源的な人間の希求を強く感じるのだ。

　鈴木の制作活動は多岐にわたっている。幾何学的とも建築的とも見える、あるいはナスカの地上絵のような線描のドローイングや、今回ワンダーサイトで展示した作品のように、泥の中に埋め込まれた樹木の葉の葉脈をドローイングのラインとして発掘する作品、そしてライブハウスなどではライブペインティング、そして旅とともに生みだされる靴による路面のフロッタージュ、都市のアスファルト舗装の廃棄物を集めたインスタレーション作品など。鈴木の活動をひとつのカテゴリーの中で言い表すことは難しい。しかし、ひとたび通奏低音に線を見出したとき、彼が追い求めるものが明瞭に浮かび上がってくる。鈴木の描き出す線は古典主義的な事象を写し取ることや想像の線を描き出すのではなく、生命的で律動し生成する線を模索する。その様は、リアルな線あるいはアクチュアルな線を求めている。鈴木がずっと作り続けている何百枚にもわたるドローイングがある。ＴＷＳの展示ではそれをモルフィングする動画にまとめられた。その作品には彼の営みのエッセンスが象徴的に表されている。その独立した建築の設計図の一部のようでもある脈絡の無い一枚一枚がモルフィングされて繋がれて行くことによって、意味がどんどん剥ぎ取られていき、不思議な生成の瞬間に立ち会うことになるのである。不思議なドローイングはまるでアボリジニのドリームマップのように私たち現代人の初源的な命の躍動への道先案内となってゆく。

　今回の泥の中に葉を埋め込み葉脈を発掘する作品において、彼は滞在した青山の通りの木々からの葉っぱを集め、おなじように青山からの泥にそれを埋め、改めてそこから線を発掘するという作業を行った。その遠回りともいえるような考古学的な作業を経てこそ、私たちの身近な事物の中から改めて生き生きとしたアクチュアルな世界を蘇らせようとしているのだ。鈴木が見つけ出す線、私たちはそれを見ることによって、自らの中にむずむずとした得体の知れない疼きのような動きを感じることになる。鈴木の作品と活動はまるでアメリカインディアンのメディシンマンのように私たちをアクチュアルな世界と導いてゆくのである。

2008年1月
個展「NEW CAVE」カタログに掲載

個展カタログ
発行：青森公立大学 国際芸術センター青森
発行日：2015年12月30日
執筆：鈴木ヒラク、服部浩之

写真：神宮巨樹
テキスト: 華雪/鈴木ヒラク×髙橋憲人 電話対談
発行日: 2017年7月10日
発行元: Drawing Tube
ISBN:978-4-9909559-0-8

会場: アーツ前橋（群馬）, 会期: 2017年10月20日 – 2018年1月16日, 展示作品: Constellation #01-#19/ Archetype of City/ GENGA #001-#1000 (video), 写真: 神宮巨樹、木暮伸也

会場: rin art association (群馬),  会期: 2017年10月18日 – 2018年1月14日, 展示作品: Road (Entrance, Middle, Exit)/ Drawing Tube / Epigraph #1, 写真: 木暮伸也

会場: アートハウスあそうばらの谷(千葉),  会期: 2017年4月8日 – 5月14日, 展示作品: Warp / Road (Entrance, Middle, Exit)/ Road (Gap)/ Drawing Tube / 軌道と記号 (#01-#03)/ GENGA #001-#1000 (video) / 流星の断面 / 永昌寺トンネル, 写真: 村上圭一

大分市中央通り線地下道におけるパブリックアート作品, 2017年1月18日 – , 写真: 久保貴史

会場: 银川当代美术馆 Yinchuan Museum of Contemporary Art (銀川、中国), 会期: 2016年4月9日 – 7月10日,  展示作品: GENGA #001-#1000,  写真: Liu Feng

発行元：朝日新聞出版
発行日：2008年11月3日

発行元：サムワンズガーデン
発行日：2009年12月1日
ISBN: 978-4-86100-669-2

発行元：LODOWM MAGAZINE(ベルリン)
発行日：2011年7月

公開日：2013年5月3日
http://www.art-it.asia/

発行元：MIT Press Journals
発行日：2012年9月

発行元：美術出版社
発行日：2015年8月号

発行元：青森公立大学国際芸術センター青森
発行日：2016年3月

発行元：日本経済新聞社
発行日：2016年10月12日

published by典藏藝術家庭
publication date: November 2018

発行元：典藏藝術家庭
発行日：2018年11月

作品集
発行：株式会社ビームス
テキスト：北出智恵子
限定500部／シリアルナンバー入 ／ サイン入
発行日：2010年12月12日
ISBN：978-4-904921-09-8