「百年硝子の夢」は神谷伝兵衛邸の窓硝子をイメージした写真作品。
硝子は写真の黎明期に感光板の役割を果たし、今日も「透明」という性質から、様々な光学機械に用いられている。この作品は写真のフィルムを硝子に見立てて、稲毛の海辺の風景を撮影し、硝子の身に降りかかるであろう外界の刺激を加えて作成。硝子に降り注いだ過去の光に思いを馳せるための試み。
大正7年に神谷伝兵衛邸が竣工した時、庭のすぐ外に砂浜が広がっていた。しかし戦後の都市開発で海辺が埋め立てられて、波は二キロ先に遠ざかり、コンクリートの建物が視界を塞いでいる。
果たして百年を生きたお屋敷は海を覚えているだろうか。
建物が自らの口で過去を語ることはないけれど、窓硝子越しに庭を見ると、ふと松の葉の間に輝く水面を幻視する。
“Hundred Years Glass Dream” is a photographic work inspired by the window glass of Kamiya Denbe’s residence.
Glass was used as a photosensitive plate in the early history of photography, and is still used today in various optical machines due to its “transparent” nature. This work photographed the seaside scenery of Inage, and added deterioration due to seawater and mold to the negative film.
An attempt to think of the past light that has fallen on the glass, as if the film were like glass.
When Kamiya Denbe’s residence was completed in 1918, a sandy beach spread out just outside the garden. However, the seaside was reclaimed by urban development after World War II, the waves were two kilometers away, and concrete buildings were blocking visibility.
Does the building that lived for 100 years remember the sea?
The building doesn’t talk about the past with its own mouth, but when I look at the garden through the window glass, I suddenly imagine the surface of the water shining between the pine needles.
清水裕貴 ／ Yuki Shimizu 