作品名

组石

作者名

角谷 郁恵

制作年份
2012
指导教授
板东 孝明
作品简介
在纸上反复叠加色彩，我怀着祈祷般的心情创作了数百块“石头”。这些看似真实的踏脚石，甚至在触摸之前，人们几乎无法相信它们竟然是用纸制成的。我曾多次造访桂离宫，细致描绘自己亲自踩踏过的每一块踏脚石，这种过程本身也让我不断反思对细节的坚持与严谨。标题“组石”（石を組む）源自“组版”（文字を組む）的构想，我称这件以白色平面构成的浮雕作品是“排版艺术”。正因为作品中没有文字，那些沉默的“石头”反而承载着庭院设计所蕴含的意图与气息，并在无言中释放出更为充盈的力量。
Title

Assembled Stones

Artist

Ikue Kakutani

Year
2012
Supervising
Takaaki Bando
Description
With a prayerful state of mind, I created hundreds of “stones” by layering colors repeatedly on paper. These stepping stones appear so real that, until touched, it is difficult to believe they are made of paper. Having visited Katsura Imperial Villa many times, I carefully depicted each stepping stone I had walked upon, and this process itself made me reflect on the rigor and persistence in my attention to detail. The title Assembled Stones (Kumi-ishi) derives from the idea of typesetting (kumi-han). I regard this white, relief-like composition as a form of “typographic art.” Precisely because the work contains no text, the silent “stones” instead carry the intention and atmosphere embedded in garden design, releasing an even more profound and silent power.
作品名／Title

组石
Assembled Stones

作者名／Artist

角谷 郁恵
Ikue Kakutani

制作年份／Year
2012
指导教授／Supervising
板东 孝明／Takaaki Bando
作品简介
在纸上反复叠加色彩，我怀着祈祷般的心情创作了数百块“石头”。这些看似真实的踏脚石，甚至在触摸之前，人们几乎无法相信它们竟然是用纸制成的。我曾多次造访桂离宫，细致描绘自己亲自踩踏过的每一块踏脚石，这种过程本身也让我不断反思对细节的坚持与严谨。标题“组石”（石を組む）源自“组版”（文字を組む）的构想，我称这件以白色平面构成的浮雕作品是“排版艺术”。正因为作品中没有文字，那些沉默的“石头”反而承载着庭院设计所蕴含的意图与气息，并在无言中释放出更为充盈的力量。
Description
With a prayerful state of mind, I created hundreds of “stones” by layering colors repeatedly on paper. These stepping stones appear so real that, until touched, it is difficult to believe they are made of paper. Having visited Katsura Imperial Villa many times, I carefully depicted each stepping stone I had walked upon, and this process itself made me reflect on the rigor and persistence in my attention to detail. The title Assembled Stones (Kumi-ishi) derives from the idea of typesetting (kumi-han). I regard this white, relief-like composition as a form of “typographic art.” Precisely because the work contains no text, the silent “stones” instead carry the intention and atmosphere embedded in garden design, releasing an even more profound and silent power.