物質の表面を執拗に追究し、空間そのものの知覚を更新するインスタレーションで注目を集めてきた中島崇。

本展では、その新たな展開として、「ステンレス」という素材に向き合う作品を展示いたします。
作家がこの素材に取り組み始めて 3 年半。試行錯誤を重ねるなかで到達したのは、鏡面に仕上げたステンレスバンドを折り曲げ、歪ませることで立ち上がる「立体の絵画」ともいうべき表現です。作品には、光、環境、反射、実体、影、支持体といった複数の要素が緊密に関わり合い、空間に新たな視覚体験をもたらします。
作品は周囲の環境を取り込みながら光を複雑に反射し、従来そこになかった陰影を空間に生み出します。鑑賞者は、その変容した場に身を置くことで、空間の知覚と自己の位置をあらためて見つめ直すことになるでしょう。

同時期に開催される入善町下山芸術の森発電所美術館（2026 年 6 月 27 日（土）～9 月6 日（日））での展示では、窓から差し込む自然光がストレッチフィルムのストロークを通して「光と時間の形」を浮かび上がらせます。これに対し、本ギャラリーでの展示では、制御された照明が生み出す光の乱反射とステンレスバンドの緊張感あるストロークによって、場そのものを描き出す試みが展開されます。

ステンレスが備える自己修復性や、酸化を通じて化合物（錆）へと移行しようとする性質は、自然と人工の境界に立ち現れる現象を想起させます。光を捉え、時間を物質へと変換する二つのアプローチを、ぜひこの機会にご高覧ください。

Takashi Nakajima has garnered attention for installations that relentlessly investigate the surface of materials and renew our perception of space itself.

In this exhibition, he presents a new development in his practice through works centered on the material of stainless steel.

Over the past three and a half years, Nakajima has devoted himself to exploring this material through extensive experimentation. The result is what may be described as a form of “three-dimensional painting”: mirror-polished stainless-steel bands are bent and distorted, generating sculptural forms that emerge through their interaction with light and space. Each work brings together multiple elements—light, environment, reflection, physical presence, shadow, and support structure—creating a new visual experience within the exhibition space.

The works absorb and reflect their surroundings in complex ways, producing shadows and gradations that did not previously exist within the space. By inhabiting this transformed environment, viewers are invited to reconsider both their perception of space and their own position within it.

In Nakajima’s concurrent exhibition at Nizayama Forest Art Museum , (June 27–September 6, 2026), natural light entering through the windows reveals the “shape of light and time” through strokes made of stretch film. In contrast, the exhibition at the gallery explores the act of drawing space itself through the diffuse reflections generated by controlled lighting and the tense, dynamic strokes formed by stainless-steel bands.

The self-healing properties of stainless steel, as well as its tendency to transition through oxidation into compounds such as rust, evoke phenomena that emerge at the boundary between the natural and the artificial. Through these two distinct approaches—capturing light and transforming time into material form—we invite visitors to experience the artist’s latest exploration of perception, materiality, and space.