2026.9.12-10.11
都築崇広の個展「糸くずが土に還るとき」を開催いたします。
構造⽤合板等の住宅用建材を⽤いた作品を制作してきた都築が今回選んだ素材は、自動車や住宅の緩衝材に用いられる「プレスフェルト」です。環境保護の思想ではなく純粋なコスト削減のために生み出されたこの素材は、色とりどりの廃繊維が混色され、グレーの地平へと還元された工業製品です。しかし、作家はその表情に、朽ち果てた花々が茶色い土へと還り、やがて春に新たな芽吹きを迎える自然の循環を見出します。
作家が週末に訪れる長野の田舎で見られる、人の手を離れ野山へと還元していく力強い自然の営み。また、ギャラリー脇のアスファルトの亀裂をこじ開けて芽吹く都市の雑草たち。場所を問わず繰り広げられる「自然の循環と人間の営みとのせめぎあい」は、このグレーのフェルトの上にも立ち現れます。
すべての色彩を内包した灰色の地面から、いかにして新たな生命（作品）が立ち上がるのか。工業製品と自然現象の境界を横断する、都築崇広の新たな試みをぜひご高覧ください。
Yu Harada gallery is pleased to present Takahiro Tsuzuki’s solo exhibition, When Threads Return to the Earth.
Tsuzuki has developed his practice through the use of materials such as structural plywood and other building materials commonly found in residential construction. For this exhibition, however, he has chosen a new material: “pressed felt,” an industrial felt used as cushioning material in automobiles and housing.
Originally developed not out of environmental concerns, but simply as a means of reducing production costs, pressed felt is made by blending discarded fibers of various colors together, ultimately reducing them to a uniform industrial gray. Yet within the surface of this material, the artist perceives a natural cycle: flowers withering and returning to the brown earth, only to give rise to new shoots in spring.
This cycle is also evident in the rural landscapes of Nagano, which the artist visits on weekends, where powerful forces of nature gradually reclaim places once shaped and inhabited by humans. It can be seen as well in the weeds growing through cracks in the asphalt beside the gallery, forcing their way through the rigid surfaces of the city.
Regardless of place, the tension between the cycles of nature and human activity continually unfolds around us. On the gray surface of this felt, too, this struggle becomes visible.
From a gray ground that contains within it the traces of every color, how might new life—and, in turn, new works—emerge?
Crossing the boundary between industrial products and natural phenomena, Takahiro Tsuzuki’s latest exploration invites us to reconsider the processes through which materials, landscapes, and life itself are continually transformed.
We warmly invite you to experience the exhibition.
都築 崇広「糸くずが土に還るとき」
Takahiro Tsuzuki "When Thread Scraps Return to the Earth"
2026.9.12-10.11
都築崇広の個展「糸くずが土に還るとき」を開催いたします。
構造⽤合板等の住宅用建材を⽤いた作品を制作してきた都築が今回選んだ素材は、自動車や住宅の緩衝材に用いられる「プレスフェルト」です。環境保護の思想ではなく純粋なコスト削減のために生み出されたこの素材は、色とりどりの廃繊維が混色され、グレーの地平へと還元された工業製品です。しかし、作家はその表情に、朽ち果てた花々が茶色い土へと還り、やがて春に新たな芽吹きを迎える自然の循環を見出します。
作家が週末に訪れる長野の田舎で見られる、人の手を離れ野山へと還元していく力強い自然の営み。また、ギャラリー脇のアスファルトの亀裂をこじ開けて芽吹く都市の雑草たち。場所を問わず繰り広げられる「自然の循環と人間の営みとのせめぎあい」は、このグレーのフェルトの上にも立ち現れます。
すべての色彩を内包した灰色の地面から、いかにして新たな生命（作品）が立ち上がるのか。工業製品と自然現象の境界を横断する、都築崇広の新たな試みをぜひご高覧ください。
Yu Harada gallery is pleased to present Takahiro Tsuzuki’s solo exhibition, When Threads Return to the Earth.
Tsuzuki has developed his practice through the use of materials such as structural plywood and other building materials commonly found in residential construction. For this exhibition, however, he has chosen a new material: “pressed felt,” an industrial felt used as cushioning material in automobiles and housing.
Originally developed not out of environmental concerns, but simply as a means of reducing production costs, pressed felt is made by blending discarded fibers of various colors together, ultimately reducing them to a uniform industrial gray. Yet within the surface of this material, the artist perceives a natural cycle: flowers withering and returning to the brown earth, only to give rise to new shoots in spring.
This cycle is also evident in the rural landscapes of Nagano, which the artist visits on weekends, where powerful forces of nature gradually reclaim places once shaped and inhabited by humans. It can be seen as well in the weeds growing through cracks in the asphalt beside the gallery, forcing their way through the rigid surfaces of the city.
Regardless of place, the tension between the cycles of nature and human activity continually unfolds around us. On the gray surface of this felt, too, this struggle becomes visible.
From a gray ground that contains within it the traces of every color, how might new life—and, in turn, new works—emerge?
Crossing the boundary between industrial products and natural phenomena, Takahiro Tsuzuki’s latest exploration invites us to reconsider the processes through which materials, landscapes, and life itself are continually transformed.
We warmly invite you to experience the exhibition.