直感に従いモノを積んでゆく感性や想像力を引き出す為のツール。45度カットを貴重としたブロックは様々な角度や形に積んでゆくことができる。またマスキングテープ用い塊を作る事で最低限の構造が発生し造形に幅を与えてくれる。
目的や意味などに目もくれず、目の前のブロックに向き合う。「何を」作ってるかなんて野暮な事は考えず、組み合わせの自由と不自由さに物理法則を感じ木の匂いと手触りに森を見る。僕は家具が好きだから手を動かすと自然と家具ができていた。ロケットやビルにでも変容し得る積み木の創造性は、少ないモチベーションに対する複雑さの現れである。
ものづくりの純粋性と快楽性を河原や山頂に積まれた石に感じるように、人には内在的に物質と行為の間に満たされている何かへの感覚がある。遊びの様な非生産的な行為に存在する「それ」は、独特なリズムや雰囲気を醸し出し、生産されたモノには残影として在り続ける。染み出した無垢さや無意識は二次的な生産の呼び水として思考を伝達し、不確かな感触の余韻を響かせる。形なき形の界面を撫でながら内在感覚との会話に浸る。
I suddenly remembered Kanei Tsuho, which I picked up in the riverbank when I was a child. There were other coins around the coins that had fallen, and I felt a romance with them as a child. Money is unique as a thing. Although it has been used for more than 50 years, it has an empty property that can be established only by social credibility. The complex sculptures on the surface symbolize the development of modern production technology, and people's memories are updated by repeating minor design changes with the times. Each country has its own value, and there is no other product that involves almost everyone. The year of manufacture is stamped on Japanese coins. From each of them, you can imagine various emotions, such as time and relationships with countless people.
Kintoki is an object that has a space for collecting coins. Basically, it is designed so that coins once inserted cannot be taken out. The purpose is a little different from the consciousness of saving little by little and the process of taking out by breaking the piggy bank. As a consideration for something, we enjoy the absurdity of ending the function of coins around society and accumulating them. The ecstasy of immorality and the time when it is contained in money are bitten. There is no meaning there. However, it can also be meaningful. Like a fountain or a gift. The more active the relationship with things, the more realistic it becomes and the more it becomes colored. What does the metal in Kintoki mean in the face of the digitization of money and the collapse of social systems?