彫刻次元空間

小嶋悠司

９５年阪神淡路地震のあと、学生に向かい、日本画の絵具は深く力強く静かに心に響くものであり、いまは人体デッサンをしっかりとやり、構成力を養って欲しいと云っていた。

昔、イタリアに居た時、フレスコの前に（たぶん修理だろう）足場が組んであった。フレスコがよく見えない。中世の人はその中で描いていた。強いイメージと構成力と情熱を身体の内に持っていたのだろう。

小島君にもよく話した。彼は古代を視るようになり、生命の尊さを視るようになった。日本画絵具の荒々しくも素朴な深さを知っている。

小島君は未完ではあるが、空間に対して彫刻的次元を持ちながら描いている。私が持ち得ない才能を持つ人に注目する。

独自の空間を持つ大器に成長して欲しい。

(こじまゆうじ・京都市立芸術大学名誉教授）

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[ English Summary ]
This text examines Tokuro Kojima’s recent paintings through questions of description, categorization, and how artworks are positioned within social and historical frameworks…

“Sculptural Dimensional Space”
Yuji Kojima

In this text, Yuji Kojima reflects on Tokuro Kojima’s work through personal recollections and observations shaped by experiences of historical catastrophe and artistic tradition. Recalling the period following the 1995 Great Hanshin Earthquake, he emphasizes the profound, quiet strength of traditional Japanese pigments and the importance of rigorous figure drawing and compositional discipline.

Drawing a parallel with medieval fresco painters working within scaffolding, Kojima suggests that strong imagery and spatial composition arise from an internalized bodily and emotional force rather than from surface visibility alone. He observes that Toku Kojima’s work demonstrates a growing attentiveness to antiquity and to the fundamental value of life, grounded in a deep understanding of the raw yet humble material qualities of Japanese painting pigments.

Although still in development, Kojima’s practice is characterized as painting that possesses a sculptural sense of dimensionality toward space. Yuji Kojima identifies in him a rare talent—one that approaches space with a sculptural awareness while remaining rooted in painting—and expresses the hope that this capacity will mature into a fully realized and independent spatial vision.

— Yuji Kojima, Professor Emeritus, Kyoto City University of Arts

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