2026年度　100回記念国展　工芸部　入選作品

私自身が深く自然に身を沈めて、
見上げた月がモチーフになっています。

その月は荒々しく、力強さがありながら、
手を伸ばせば届くような柔らかな光をもっていました。

天板に選んだ樹種は黄色の色味をもった栗材。

満ちては、
欠けてゆく月の姿を樹皮にて表現しました。
普段は捨て去る欠点である節や割れ、或いは虫喰いを、
荒々しくも優しい月の表情としてとらえています。

テーブルの天板の端部には深い匙面を。
この作為と自然の描く無作為の衝突点、
もしくは均衡点がこの作品のハイライトとなります。

この作為的な深い匙面に指を這わせて、自然の造形の樹皮へと進めば、指が踊るような形状としました。

彫刻家　砂澤ビッキ氏の残された言葉
「現在は視覚が中心だが、退化してきた触覚の中から
もっと根源的な人間と言うものを掴めないか。
見るのではなく、触れてはまわる彫刻を」

「未完の月」
彫刻的な要素を含み
工芸の美意識と様式によって生まれた作品となります。

The Concept of “Mikan no Tsuki” (Unfinished Moon”)

This piece was inspired by a moment when I immersed myself deeply into nature and looked up at the moon. That moon possessed a raw, powerful presence, yet it cast a soft light that felt as though it were within arm’s reach.

For the tabletop, I selected chestnut wood for its warm, yellow hue. I utilized the natural bark to express the waxing and waning of the moon. Knots, cracks, and insect tracts—characteristics typically discarded as flaws—are embraced here to capture the moon’s fierce yet gentle expression.

A deep spoon-cut bevel (saji-men) was carved along the edge of the tabletop. The highlight of this work lies precisely at the collision point, or perhaps the equilibrium, between this intentional human craftsmanship and the unintentional design of nature. As you run your fingers along this deliberately deep, smooth bevel toward the natural texture of the bark, the shifting forms make your fingertips feel as though they are dancing.

I am deeply guided by the words left behind by the sculptor Bikky Sunazawa:

“Today, everything centers around the visual. But can we not grasp something more fundamental about being human by tapping back into our degenerated sense of touch? Sculptures not meant just to be looked at, but to be touched and walked around.”

“Mikan no Tsuki” (Unfinished Moon”) This work encompasses sculptural elements, born from the aesthetics and disciplined forms of traditional craft.