「Pocky-chan」 2020 This work, Pocky-chan, is a series of full-CG animations and some objects related to the images, in order to think about the theme of “closeness of others” and “nausea” through the relationship between the family and the dogs they keep. It is an installation that is constructed in space. This video, which is the core of the work, is a work that was made into an avatar of a real human being by scanning 3DCG, and was a bricolage in the video. The weirdness and absurdity of the relationship between a dog and a family living in the countryside reveals the intimacy and communality of humans, by exaggerating the behavior and tone of the family as CG animation. In addition, in the video, editing such as refrains and montages that include failures and leaps are used, but the elements of these failures are not limited to representing the story obtained from the coverage of the family, but it is still told. It is an approach to the intention to have something to do, a discord or absurdity itself. The title is derived from the name of a dog that was kept in the family home of the author in Ibaraki prefecture. The dog had been kept as a watchdog for ten years in an unurbanized rural home. However, the dog was unable to chirp well, so it could not act as a watchdog and was kept unnamed by the family. The name “Pocky-chan” is the name that abruptly called by a mother when she introduced her to a relative who came to play with her, as if she were going to repair the place.
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本作は、家族と、そこで飼われている犬との関係を通して、「親しい他者」や「吐き気」というテーマを思考すべく、フルCGアニメーションとその映像に関連するいくつかのオブジェを空間上に構成したインスタレーションである。 作品の中核となる映像は、3DCGのスキャニングによって実在する人間をアバター化し、映像内にブリコラージュした作品である。田舎に住む家族と犬との関係の不気味さ、その不条理さは、CGアニメーションとして家族の所作や口調をデフォルメすることで強調され、人間の屈折した親密さや共同性をあらわにする。 タイトルは、作者の出身である茨城県の実家で飼われていたある犬の呼び名が由来となっている。その犬は都市化の進んでいない田舎の家庭で、十年もの間、番犬として飼われていた。 しかし、その犬は上手く鳴くことができなかったため、番犬としての役割を果たすことができず、さらに家族から名前をつけられずに飼われていた。 「ポッキーちゃん」という名称は、そんな犬を、家に遊びにきた親戚に紹介する際に、母親がその場を取り繕うかのようにして唐突に呼んだ名前である。
In the relationship between model and simulation, all things lose their existence, and in the simulation procedure, the existence with all masses is like a mummy, the texture melts and the internal organs are taken out It is reduced to the body of the hollow. Once in the Renaissance paintings - "skepticism of St. Thomas", as the person who tried to ascertain the real existence of Christ through contact with the inside of the body was drawn, we live in modern times that this absurd world It is asked how you can acquire the viewpoint of the real existence of the object in. The behavior of objects with hollow bodies is handled by computation and destroys the “projet” to our target. They will give us a feeling of vomiting as a means of destruction that suddenly springs from the ground suddenly breaking reality.
A man who went up to the stage to play, he plays himself as he sees from the audience. While answering the desires of unreasonable audience, desperately endured with ignition in the brain and intention.
When a criminal takes a mug shot, it may show a so-called "changed face" called wired face. I do not know whether it is against the camera or towards us beyond it, but there seems to be a complex feeling mixed with disbelief, evil and resignation. For the first time, this "false face" was confirmed under the 19th century French judicial system. From the people of those days, what is filmed on the camera is an entirely black box, and there is no way to know about the system in which its fragments are stripped off, informed, and monitored. However, based on this system, criminals photographed in cameras for the first time showed "change their faces" in front of the camera. It has quite different properties from those of modern criminals. It is not a pose that takes care of nihil like resignation or evil, but instinctive acts coming from pure fear, and liberation aimed at freedom appeared in that expression.
This work is an installation consisting of three objects, two animations. It is an attempt to construct a composition such as power and control, and seek out problems concerning human freedom and identity in it.
I conceived from the plan called "face change 20 facets" in Japanese comedy program. While comedians will showcase the twenty kinds of funny faces on stage set where human poses and composition of pictures are standardized, even entertainers who are good at strange faces can change 20 kinds It is difficult to achieve a face. It seems to be a plan based on Edogawa Ranpo 's "Phantom twenty-face", but the act of changing a face so that someone becomes a different person, while playing himself, the original self changed by himself who acted It causes some confusion.
The work itself is clay animation, reminding the problem of identity to human informationization while causing trivial plays with the face authentication of iPad. The existence of the author who is mostly behind appears in the work as a trace on the surface of the material directly due to the nature of the material called clay. A serious face - a faced face - a serious face - a strange face ... Although it loops, the change from a serious face to a strange face appears an arbitrary operation of the author, a dishonest attitude towards the identity of the first face. However, only at the moment of returning from a false face to a true face, authors with dominant power try to be sincere with respect to identity. However, in the long run, the face does not return, the face gradually changes, and the identity changes with every change of face.
There is a classic program of comedy programs saying "What is in the box?" It puts various things in the box (most of which are tiny features with tactile characteristics), a person who does not know the contents of the box thrusts his hand into the hole opened on the side of the box from the back, It is a game to confirm its existence with only. Sometimes human beings are included as well, and humans behave as a kind of object at that time. In this work, humans in the box and others are placed in an unrecognizable relationship with each other, and the only clue is that tactile. Outside people touch on the inside while noticing their existence, they will come to believe in attitude, touching and twisting cheat on purpose. While the relationship of recognition between each other was unclear, the game proceeded and constructed how to change the identity.
We are spectators who are watching the performing arts performed on the stage. This object holding Campe is like a director to be seen at the filming scene of the television, and it exists on the back side of the stage. When we notice the position to appreciate ourselves, it is incorporated into a nested structure with space.