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臼井 愛子(Yoshiko Usui)
東京都日野市出身、北海道帯広市在住。
北海道教育大学大学院修了、京都造形芸術大学卒業。金村修ワークショップ参加
12歳で初めて自分のカメラを手にして写真を撮るようになるが、本格的に写真を学びたいと考え、2006年に京都造形芸術大学写真コースへ入学する。
2014年、同大学の卒業制作でばんえい競馬及び重種馬に関わる各所を撮影し始める。
ほか、日常生活の中で気づいたこと、思うことなどを作品化している。
【 主な活動・受賞歴 】
第44回 北海道教職員美術展写真部門 特選(2013)
NEW CITY ART FAIR Japanese contemporary art 参加(2014)
Back to the filmコンテスト北海道ブロック賞
第45回 北海道教職員美術展写真部門 特選(2014)
京都造形芸術大学卒業制作展 研究室賞(2015)
東川町国際写真フェスティバル 公開ポートフォリオレビュー 参加(2015)
北海道教職員美術展写真部門 招待作家/審査員(2015~)臼井 愛子個展「 輓曳 ~World's only horse racing~ 」富士フィルムフォトサロン札幌(2016)
東川町国際写真フェスティバル 赤レンガポートフォリオレビュー 参加(2017)
グループ展「光画 with MOMBETSU45/65」ガレリアオリザ/帯広 (2018)
ピンホール写真芸術学会 札幌展 新さっぽろギャラリー(2018)
臼井 愛子個展「光、風と馬」シルバーシティおびひろ (2019)
臼井 愛子個展「ひかりとあそぶ」ガレリアオリザ/帯広 (2019)
臼井 愛子個展「京都」写真工房/帯広(2020)
臼井 愛子個展「さよならはるのひかり」Roonee 247 fine arts/東京(2022)
臼井 愛子個展「BLUEBIRD」ガレリアオリザ/帯広(2022)
【 作品 】
輓曳 ~World's only horse racing~ (2015)残像と記憶 where we were (2017)
Impermanence (2018)
さよならはるのひかり(2019)
BLUEBIRD(2022)
Yoshiko Usui
Born in Hino-shi, Tokyo and live in Obihiro-shi, Hokkaido.
Graduated Hokkaido University of Education and Kyoto University of Art and Design.
I come to take a picture with the camera in the hand for the first time by 12 years old, but I'd like to learn a picture in earnest, and enters a Kyoto University of Art and Design picture course in 2006.
When graduation work of the said university goes out in 2014, oh, I begin to take a picture of Ban'ei horse racing.
Other ones, changing one, a moment and evanescence are being found and work-ized in the daily life.
【 Activities and Awards 】
The 44th Hokkaido Faculty of Art and Photography Division Special (2013)
NEW CITY Art FAIR Japanese Contemporary Art participation (2014)
Back to the film Contest Hokkaido Block Award(2014)
The 45th Hokkaido Faculty of Art and Photography Division Special (2014)
EINSTEIN STUDIO NICE TO MEET YOU issue.4 (2015)
Kyoto University of Art and Design Graduation Exhibition Laboratory Award (2015)
Higashikawa International Photo Festival Open Portfolio Review participation (2015)Hokkaido Faculty Art Exhibition Photo Division invited artist/Jury (2015 ~)
YOSHIKO Usui solo exhibition "Lend-World's only horse racing" Fuji film Photo Salon Sapporo (2016)Hokkaido Faculty of Art and Photography Division planning Committee/invited artists/judges (2018-)
Group exhibition "Kouga with Mombetsu45/65" (2018)
Pinhole Photographic Arts Society Sapporo Exhibition (2018)
Higashikawa International Photo Festival Street gallery (2018)
Art Rock Festival on Route12 /Asahikawa & Fukagawa (2018)
YOSHIKO Usui solo exhibition”Light,wind and horses" Silver city Obihiro (2019)
YOSHIKO Usui solo exhibition"Signs of playing with lights" Galleria ORYZA /Obihiro (2019)
YOSHIKO Usui solo exhibition"KYOTO" Syashin-koubou/Obihiro (2020)
【Works】Ban'ei-World's only horse racing-(2015)
where we were (2017)Impermanence (2018)
Good-bye lights of spring (2019)
Ban'ei - world's only horse racing -
北海道開拓史を思うとき、絶対外せないものに、馬の存在がある。農耕、馬搬など、北海道の開拓が始まって以来人々の生活に馬の力は欠かせなかった。しかし、昭和40年代以降馬に代わり自動車が普及し始め、馬を手放す家が増え、生産も以来減少し始めた。そのような時の流れの中、各家庭の馬の力を競い合わせるお祭りばん馬競争がばんえい競馬として公営化される。北海道遺産として認定されたこのばんえい競走は、現在では世界で唯一、北海道帯広市でのみ開催されている。関係者たちは馬たちが無事競走馬となり、活躍することを一心に願いながら、毎日馬と携わっている。2014年より 帯広市(競馬場)、北海道十勝管内各地(放牧地等)にて撮影。
When I think of Hokkaido history, to those not be removed absolute, there is the presence of the horse. Farming, such as transportation by horse, horse power in people's lives since the beginning of the development of Hokkaido I did not indispensable. However, it began to spread instead automobile around 1970 and later, house let go of the horse increases, began to decrease since also production.Among such time of flow, festive edition horse competition to race the horse power of each household is public as a BanEi horse racing. The race that has been certified as Hokkaido heritage is the only currently in the world, has been held only in Obihiro, Hokkaido.Officials horses who become successful racehorse, while intently wish to be active, have been involved with the daily horse.From 2014, around Tokachi around (grazing land, etc.), and Obihiro (Racecourse) Hokkaido.
残像、記憶(where we were.)
18歳になってすぐ、生まれたときから住んでいた東京を離れた。それから四半世紀が経った。帰省の度に懐かしく切なく思う反面、少しずつ変化を遂げる街の姿に時間の流れを意識させられる。今でも光景を思い出せるほど毎日歩いたのに、もはや原形を留めない道を見てはかつての姿に思いを馳せ、妙に斬新な建物の陰に昔の同級生が住んでいた小さな平屋が残っているのを見つけてはドキッとする。ここ数年、空港から実家へ帰る道程で建物を取り壊す姿、取り壊されて更地になった都心の一角、何か大きなものを建てている様子を随分目にするようになった。東京五輪に向け、この都市は 大きく姿を変えつつある。車窓から見る景色が記憶のそれと合致しなくなっていく。残像が急速に消えていく。かつて歩いた足跡を辿り、もう一度同じところに立ってみる。空気、匂い、微かに残る当時の街の輪郭。形のない記憶、二度と会えない人、やり場のない思い…残像をなぞるように景色を眺め、シャッターを開けている間、懐かしい時間に思いを馳せてみる。10代の終わりごろ、不安定な思いを抱えながら見ていた景色の残像。かつて自分が歩いた、通り過ぎた場所を撮影しようと決め、過去の輪郭が認知できるものをピンホールカメラで2015年から撮影している。
When I was 18 years old, I was away from Tokyo where I lived from the time I was born.And a quarter of a century has passed. Of homecoming, a degree, I can make the form of the town where they change on the other hand and a little that I think painfully dearly conscious of a flow in time. Since seeing the way which no longer fixes the original form, since expectation is driven in former form, and finding that the small one-storied house by which an old classmate lived in the shadow of the novel building strangely is left, I'm so stunned that I walked every day that the view can be remembered even now.I came to see the form that a building is demolished by the distance which returns from the airport to its parents' home for these several years and the state building one corner in downtown which was demolished and became a vacant lot and something big a lot. This city is turning the form big for Tokyo Olympics. The scenery judged from a car window is a memory and I'm not agreeing any more. An afterimage is going off rapidly.I'll follow in the footsteps I walked formerly and leave for the same place again. Air and the outline of the town in the those days which is felt and left faintly. While I look at the scenery and open a shutter so that the memorization which has no shapes and the concerned... afterimage which has no people who can never meet and open places may be traced, expectation will be driven dear time.The scenic afterimage which was being seen while holding unstable expectation around the teenage end. I'm deciding and am taking a picture of something as which the outline of the past can be recognized from 2015 by a pinhole camera in order to take a picture of the passed place one walked formerly.
Impermanence
近所の河川敷をよく歩く。 年間の気温差が50℃ある十勝は、季節の移り変わりをはっきり見せる。冬は川面から毛嵐が立ちのぼり、白鳥が羽を休める。春には桜が咲き誇り、夏はときに猛暑日があり、視界を遮るほど草木が生い茂る。短い秋を経て、すぐに冬が戻ってくる。街の中心からそう遠くない場所でありながら、どことなく原始的な面影を見せる場所でもある。 2016年8月30日、台風10号が東北・北海道地方を襲った。十勝でも行方不明者が出たり、農作物の被害が出たり、避難勧告が出されたりした。その翌朝、台風一過の晴天のもと、川は普段の数倍に増幅し、ギラギラと光る濁流が河川敷全てを覆っていた。 私の知る河川敷は見る影もなくなった。それまで災害の報道に震撼することはあっても、どこか他人事として見ていたということに初めて気づいた。 あれから2年が経ち、人の手や時間により 体裁を戻しているところもありながら、当時の様相が残る場所も少なくない。恐らく、あの日の爪痕は消え去らない。その上に新しい時間が積もっていく。 私が生まれる前のここを想像する。私がいなくなった後のここを想像する。景色は変わり続ける。 目の前に広がる世界の無常を思う。 2012年より帯広市で撮影。
I often walk a riverbed in neighborhood. Tokachi where the temperature difference of the year is here 50 ℃ shows a seasonal change clearly. frozen storms rise from the surface of a river in winter, and swans take a rest. A cherry tree blooms in spring and vegetation is so wanton that there is sometimes a heat wave day, and summer interrupts the sight. Winter will return immediately via short autumn. Though it's the place which isn't so far from the center of the town, it's also the place where the primitive image is shown somehow. The northeast and Hokkaido were seized with number 10 of typhoon on August 30, 2016. A missing person went out of Tokachi, and it caused damage of farm produce, and evacuation instructions were taken out. A river is also amplified at usual several times with the one of the clear sky of typhoon passage in the next morning, that it glares, the muddy stream which shines covered all riverbeds.The seen shadow has also disappeared in the riverbed I know. Even if it was shocked at report of an accident up to that, it was being seen as some somebody else's problems, said, I noticed for the first time.From that though it has passed and there are also the person and a place where appearances are returned by time, I don't also have little 2 the place where the aspect of the those days is left. Perhaps a scratch of that day doesn't melt away. New time is estimating on it.Here before I'm born is imagined. Here after I have disappeared is imagined. The scenery keeps changing.I think of evanescence of the world spread in immediateness. From 2012 at Obihiro Hokkaido.
Wind, light and horses
輓馬を撮り始めて6年ほどになる。帯広競馬場で見た輓馬の迫力に惹かれて以来、十勝の農家や放牧地にいる馬たちと会う機会に恵まれた。家畜である彼らは人に管理され、決められた運命にその命を賭す。しかし私が出会った馬たちはのびのびと過ごし、前から後ろから寄ってくる人懐こさを見せる。 青空の下でじゃれあう仔馬たち。安心しきった表情で横になり眠る姿。母馬について歩く仔馬のおぼつかない足取り。風に吹かれてなびくたてがみ。斜陽に光る輪郭。 この馬たちにどのような運命が待っているかはわからないが、せめていましばらくの間でも心穏やかに過ごせる時間があればいいと思う。そしてこの風景がこの先も続きますように、と思う。
It has been about 6 years since I started to take a picture. Since I was attracted by the power of mares I saw at Obihiro Racecourse, I had the opportunity to meet with Tokachi farmers and horses in rangelands. As livestock they are managed by humans and bet their lives on the fortunes decided. However, the horses that I met spend a leisurely time, showing the nostalgia that comes from the front and back.The foals that go under the blue sky. She sleeps lying down with a secure expression. Unsuspected gait of a foal walking about its mother horse. Mane blowing in the wind. Contour that shines on the sun.I do not know what the fate is waiting for these horses, but I think it would be nice if there was a time to spend at least calm for a while. And I hope this landscape will continue in the future.
さよならはるのひかり
大切にしたい記憶がたくさんあるはずなのに、時間が経つにつれ、それらはどんどん形を変えていく。時間軸が前後したり、断片的に消えてしまっていったりする。それでいいと思う反面、その儚げな記憶は今の自分を構成する大事な要因だということもわかっているつもりだ。一日、もしくは一年の中で一番長い時間を過ごす職場の中で気になった、変わっていくものを撮り続けたものをまとめた。I have a lot of memories that I want to cherish, but as time goes on, they change shape. The time axis moves back and forth or disappears in pieces. On the other hand, I think it's okay, but I'm going to know that that bald memory is an important factor that makes up me.Say hello!
Let me know what you think and feel.
Copyright Yoshiko USUI 2016