Tadahiko Ikegaki

1955

Born in Kyoto

1974

Lived in Mexico (-'77)

1982

Completed post-graduate course, Kyoto Saga Art College, Print section

1984

Completed team as research student, Kyoto Saga Art College, Print section

2006

Studied in a doctoral program, Kyoto City University of Arts

2009

Overseas training program, The Llotja Advanced School of Art and Design, Barcelona, Spain (-'10)

Solo Exhibitions

1983

Gallery Haku, Osaka, Japan ('85, '87, '89, '91)

1984

Gallery Space Eleven, Tokyo, Japan

1986

Gallery coco, Kyoto, Japan ('89, '90, '95)

1991

ITOKI Crystal Hall, Osaka, Japan

1992

Gallery NIKKO, Tokyo, Japan

Shinanobashi Gallery, Osaka, Japan（'93,'94, '97-'01, '06-'08, '10）

2002

GALLERY SPACE ○△⬜, Kyoto, Japan ('04, '06)

2005

Ban Garow, Osaka, Japan

2007

Independentx4, The Artcomplex Center of Tokyo, Japan

2009

Melancolia Pasada, Red 03, Barcelona, Spain

2011

Meirin Chakai, Kyoto Art Center, Japan and others

2014

Galleria Finarte, Nagoya, Aichi, Japan ('16)

2015

Mixta Celebración, Gallery Nomart, Osaka, Japan

2017

Ribbons and Prisms, Gallery Nomart, Osaka, Japan

Group Exhibition

1982

“The 7th British International Print Biennale”, Bradford, England

“Arteder '82 Maestra Internacional de Arte Grafico”, Bilbao, Spain

“Printers -a new generation”, gallery coco, Kyoto, Japan

1983

“Printers -a new generation”, gallery coco, Kyoto, Japan

1984

“YES-ART3”, Gallery Haku, Osaka, Japan

1985

“YES-ART4”, Gallery Haku, Osaka, Japan

“The 10th Kyoto Art Exhibition of Sculpture”, New Artist Prize, Kyoto   Prefecture Center for Art and Culture, Kyoto, Japan

1986

“Art Now '86, Hyogo Prefectural Museum of Art”, Hyogo, Japan

“YES-ART5”, Gallery Haku, Osaka, Japan

“TAMA-VIVANT '86”,  Tama Art University Hachioji Campus/Shibuya Seibu Seed Hall, Tokyo, Japan

1987

“YES-ART DELUXE”, Sagacho Exhibit Space, Tokyo, Japan and others

1989

“Intersection of Printing '89”, Kyoto Municipal Museum of Art, Kyoto, Japan

1990

“DRAWING WORKS”, gallery coco, Kyoto, Japan

1991

“Painting Now”, Osaka Contemporary Art Center, Osaka, Japan

“ART SCENE '91 - Each Material”, Each Expression, The Tokushima Modern Art Museum, Tokushima, Japan

1992

“Contemporary Art Through the Eyes of Children”, Ashiya City Museum of Art and History, Hyogo, Japan

“Osaka Triennale '92 : International Triennial Competition of Sculpture”, Excellent prize, MYDOME OSAKA, Osaka, Japan

1993

“Art is Fun 4”, Hara Museum Arc, Gunma, Japan

1998

“The Future of Paintings”, Osaka Contemporary Art Center, Osaka, Japan

“Osaka Triennale '98”, MYDOME OSAKA, Osaka, Japan

2000

“KYOTO Hanga 2000”, Kyoto Municipal Museum of Art, Kyoto, Japan

2003

“In the manner of cultivating”, Wakayama Prefectural Museum of Art, Wakayama, Japan

2004

“ispa JAPAN 2004, The PLATES”, The University Museum Chinretsukan Gallery, Tokyo National University of Fine Arts and Music, Tokyo, Japan

“Small plane and stereoscopic” GALLERY ○△⬜, Kyoto, Japan

2006

“Material : White Book”, Nomart project space, cube & loft, Osaka, Japan

2007

“INDEPENDENT -Double Reality”, Aichi Prefectural Art Center Gallery, Aich, Japan

2008

“MAXI GRAPHICA/Final Destinations”, Kyoto Municipal Museum of Art, Kyoto, Japan

“Tasogare no Begin”, GALERIE H2O, Kyoto, Japan

“TAMA-VIVANT2”, Tama Art University, Tokyo, Japan and others

2009

“Life&Art”, Higashi Hiroshima City Museum of Art, Hiroshima, Japan

2011

“From Osaka Prefectural 20th century art collection "Prints", Contemporary” Art Space Osaka, Osaka, Japan

2013

“Awagami Print Expression 2013 - Washi and Technology, The Hall of Awa Japanese Handmade Paper, Tokushima / @KCUA 2”, Kyoto, Japan

“A good-by present +Tea party”, kara-S Gallery, Kyoto, Japan

2014

“PRINT/ZINE, Tsukuru Building’, Kyoto, Japan

“GALERIE SUIRAN’, Gunma, Japan

“Favorite Books, Gallery Nomart, Osaka’, Japan

“Nishi-Kaze Graphics, ORIE ART Gallery”, Tokyo, Japan

“FACTORY HOUSE, Gallery Nomart”, Osaka, Japan

2015

“KINO PRINT, gallery ARTISLONG”, Kyoto, Japan

“Jahresgaben 2015: Art - Can, Gallery Nomart”, Osaka, Japan

2016

“FUNAZOKO NI DO WO KABUSERU”, kara-S Gallery, Kyoto, Japan

2017

“Spring Collection, Gallery Nomart”, Osaka, Japan

Public Collection

The Museum of Modern Art, Wakayama

Hyogo Prefectural Museum of Art

Kyoto Prefecture

Osaka Prefecture

Mainichi Broadcasting System, Inc.

池垣禎彥：絲帶和棱柱

Tadahiko Ikegaki: Ribbons and Prisms

去年，為加強個展的連結性出版了展覽畫冊，並邀請谷川渥(Mr. Atsushi Tanigawa)和清水穣(Mr. Yuzuru Shimizu)兩位先生書寫藝術評論。我衷心感謝兩位接受了作品集正文的編寫工作。文中清水穣先生提出「絲帶和棱柱」的標題令我印象深刻，於是就使用它作為這次的展覽標題。這似乎有種像奇里科(Giorgio de Chirico)超現實主義作品般的形而上畫面，又好像弗朗西斯・培根(Francis Bacon)的作品那般帶有強烈的瘋狂。我著迷於這樣的標題，正因它提及作品彷彿能預感到潛藏在偏離日常視野深處的某種力量，並達到某種超凡脫俗的心境，且讓人深思。我期望能一直伴隨著這樣的心境來製作各種作品。

我喜歡利用銅特有的性質來製作版畫作品。使用銅版腐蝕等各種技法使酸腐蝕銅的表面，增加凹凸感使版面呈現浮雕狀。銅版畫的構成是在版的凹凸面上填滿油墨，然後放上紙張用銅版印刷機印製，這種構造對於我來說就像是能看見物理般的圖說一樣，容易理解。各種各樣的想法在腦海中浮現並能以我想像的方式製成。

銅本身就是種不可思議的金屬。自青銅器時代開始，銅即是人類最早使用的金屬。能在史前時代的自然環境中發掘，並且熔解、鑄模最後成形，十分令人驚嘆。在我的作品中，我使用薄度為0.8毫米的銅片。雖然是金屬，但材質較柔軟，且易於使用剪刀裁剪，宛如我在紙上繪畫線條一般。我覺得銅的表面就像生火腿一樣細膩精緻。原封不動放置時，顏色會漸漸因為氧化而呈現黑色直至青綠色，然後會有白銅、紅銅、黑銅等七種變化。版畫是種承載回憶的媒介，而銅的表面亦可作為保留記憶的媒介之一。就像直線刻線法，直接在銅板表面上刻畫，這樣的痕跡就像是被記錄下來的事實資料。氧化所呈現的青綠色銅銹，亦能保護銅板內部的材質能長時間保存，就像是一種特別聰明的生物存在著。

我也對探索浮雕形式中的深處與微縮世界深感興趣。我不是為了製作能從360度鑒賞的立體作品，而是著迷於在傾斜角度下，能透過牆壁上平面式的浮雕發現精彩的世界。那就像是徘徊穿梭於二次元的繪畫世界和三次元的立體世界之間，趣味橫生。

平面世界因重力被解放，我得以將圖像放置於任何一處，自由地在紙本裡飛翔。但是這樣的媒材並沒有質感，無法觸動到我的內心，就像是沉悶的理論般無法帶給我身心上的刺激，相較立體作品，在製作過程中，它的可塑性更能為我帶來靈感。另一方面，立體作品的材料與製作過程，需耗上更多成本、體力與時間。所有現實衝擊都令我深感壓力。我承認立體作品的優勢在於，有種神創造出新的物件一般逼真的快感。

而當我在立體或平面的嘗試中面臨困難，我會先製作另一類型的作品，就如同草坪在另種角度觀看總是顯得更為鮮綠一般。也許我真的是因為透過穿梭於兩種類型的創作而達到平衡。而這樣的往返促使我的創作得以提升，就像是透過雙腳左右步行一般。我聽說我們的身體即便在站立的狀態，都是透過分配重量至雙腳而得以取得平衡，若重量平均承載在雙腳也會跌到。總之，我在製作平面作品和立體作品時也是同樣的道理，保持這種平衡十分重要，使我得以持續的發展我的創作。

4/14, 2017

池垣禎彥

Tadahiko Ikegaki: Ribbons and Prisms

Last year, I asked Mr. Atsushi Tanigawa and Mr. Yuzuru Shimizu to write commentaries for my drawing catalogue to be published in conjunction with my exhibition. I sincerely appreciate both of them accepting my request. I particularly liked the title “Ribbons and Prisms” used by Mr. Shimizu for his text, and appropriated it as the title of my exhibition. It sounds somehow surreal, bringing to mind metaphysical images, as seen in the world of Giorgio de Chirico. It also seems to connect with insanity, as in Francis Bacon. I love this title for making me feel a premonition that something otherworldly is lurking in the background, and making me feel honored. I would like to always keep this title in mind when making my work.

I have been mainly working on copperplate prints, as I especially like copper. I make relief print plates with indentations by eroding the copper’s surface with acid applied using etching techniques, etc. The mechanism of copperplate printing is that the indentations on a plate are loaded with ink and the plate is pressed to print on paper. The structure seems both physical and schematic, and it is simple for me. I have come up with various ideas and am able to work in my own way.

Copper itself is a mysterious metal. It is the oldest metal which humans have been using since the Bronze Age. I am amazed by how people found it in the natural environment, and how they melted and casted it, back in those early days. The copper plate I use for my prints is 0.8mm. Though it is a metal, it is soft and can easily be cut with scissors. I feel as if I am drawing lines on paper. The surface is moist and delicate, like an uncured ham. If left untreated, it soon oxidizes, becoming black and then blue-green, going through various changes of color such as white, red, etc. Printmaking is a medium that records past memories, and the surface of copper also can be a medium to record memories. As drypoint, direct intaglio techniques in copper plate print, the surface is very easy to scratch, and the scratch may be recognized as recorded data. It is also possible to protect the material of the plate for a long period by intentionally allowing blue-green oxidisation of the surface. I think of it as a very clever metal, like a living creature.

I am also interested in depth and the miniature world that I see in the relief format. It is not a sculptural work intended to be observed from 360 degree angles. It is a textured but flat world attached to a wall, that can be looked into. It is fun, just like coming and going between the world of drawing in two dimensions and the world of sculpture in three dimensions.

The flat surface world is gravity-free so I can put images anywhere, flying freely in the space on the paper. However I do not feel physical response very much as there is no substance to the material. Even in the process of making a sculpture, plasticity gives me ideas to develop, while working on paper feels more like desk theory without physical stimulation. On the other hand, sculpture can be more expensive for materials and processing. And it also requires physical effort, and time. All the practical aspects are against me. I admit though that physically creating sculpture is deeply enjoyable, bringing a new object into existence with god-like powers. When I face difficulty in one medium, I escape to the other, as the grass always looks greener on the other side. Maybe I actually balance myself by going back and forth between these media. And this coming and going helps my work to progress, just like walking with both legs. I have heard that we balance ourselves by allocating our weight onto both feet even when we are just standing, and we will fall down if the weight is equally loaded on both feet. I think it is very important for me to engage in both two-dimensional work and sculpture, balancing myself so that I can continue to develop my work further without falling down.

April 14, 2017

Tadahiko Ikegaki