The shape of Tokyo Skytree® was born here! "Shape with a sled" all revealed at once

(TOP image) Shape with a Sled-1 (1978) Museum of Contemporary Art Tokyo © Sumikawa Kiichi

A world of art to visit, see and feel
File.25 Yokohama Museum of Art "Kiichi Sumikawa: Slewing and Turning"
Miyuki Inoue (Magcal Editorial Department)

I like abstract sculpture.
I tend to think that paintings are "incomprehensible," but three-dimensional objects somehow free my mind. I think it's because I can view them from any angle I like in 360 degrees, and I simply think, "That's cool!"... but this is purely my personal opinion.
So, I was intrigued by the opening of "Kiichi Sumikawa: Sledding and Moving" at the Yokohama Museum of Art from the moment I saw the poster announcing its opening. I was invited to a preview, so I hurried off.

On display in the prologue is a model of the Kintai Bridge, which is said to have been the starting point for Sumikawa's creations. Needless to say, it is a wooden arch bridge spanning the Nishiki River in Iwakuni City, Yamaguchi Prefecture.
Born in Shimane Prefecture, Sumikawa went on to study mechanical engineering at Iwakuni Technical School in Yamaguchi Prefecture, where he encountered the Kintai Bridge. Sumikawa is not the only one who has been captivated by the beauty of the bridge's form and sketched it repeatedly, but what makes him "extraordinary" is that when he saw the bridge, which was reduced to a mass of wood and stone after it was washed away by a typhoon in 1950, he felt that it was "an exceptionally powerful structure, even as a contemporary art installation."
The artist's sensibility is truly impressive.

*Left: Mr. K (1960) Right: Mr. S (1959) Collection of the artist © Sumikawa Kiichi

Sumikawa went on to study sculpture at Tokyo University of the Arts, where he learned figurative expression through modeling.
Looking at his works from that time, they are thoroughly "representational." Furthermore, Sumikawa has worked on projects such as reconstructing the faces of ancient people from bones at the request of anthropologists, and reconstructing the faces of victims from their remains at the National Research Institute of Police Science, so it feels like he is working in a "super-real" world that transcends the concrete...

*Left: MASK (1967) Yamaguchi Prefectural Museum of Art Right: MASK VI (1967) Kanagawa Prefectural Museum of Modern Art ©Sumikawa Kiichi

His work underwent a major transformation around the time he quit his job as an assistant at Tokyo University of the Arts in 1961!
He says he was inspired by African masks and the Iwami Kagura masks from his hometown, but it's hard to believe they were made by the same person. Since it's called a "MASK," there should be something in common with the "face," so how did it end up like this?
While thinking this, I found myself shouting in my heart, "It's here!!" It was so powerful, free and wonderful.

In 1967, when he returned to Tokyo University of the Arts as a lecturer in the sculpture department, he began working with materials such as stone and metal, and since then has been creating works using a wide variety of materials.To the untrained eye, his works are so diverse that they seem "anything goes," so you never get bored of looking at them.
This encounter with stone and stainless steel will then expand to include public spaces, including outdoors.

Yes, Mr. Sumikawa is the design supervisor for the largest public structure of this century, the Tokyo Skytree®.
But that's not all. They were also apparently used on a daily basis at various places, including the "Ipponbashi" and "Dokeibashi" bridges over the Ooka River, and the "Kamoikebashi" bridge over the Tsurumi River.
Naturally, the actual works are not on display, but I found myself fascinated by the introductory panel, realizing that the artist has deep ties to Kanagawa Prefecture.

* Sled Shape (1992) Shimane Museum of Art © Sumikawa Kiichi

The theme of Chapter 4 is finally "The Craftsman's Slewing and Turning."
Natural wood will warp and twist over time, but rather than resisting this natural tendency, Sumikawa incorporates the changes into his work. Rather than a sense of stability, the forms that Sumikawa creates seem to have a natural flow and a thrilling sense of "going with the flow." They seem to sway with the rhythm of nature, making it impossible to take your eyes off them.

Japan has a huge variety of tree species, which is why traditional techniques such as wooden temple construction have been cultivated since ancient times.
"Just like humans, wood has its own unique characteristics, and when you touch it, it speaks to you. I want to listen to that voice and carve out a 'curved shape' that makes the most of the material's true essence, such as the beauty of the wood's grain and its natural color," says Sumikawa.

Wood materials are also on display at the venue. Touching the artwork is strictly prohibited, but it seems that you can touch this wood, so be sure to check out its texture.

Sumikawa has been pursuing the "curved form" for over 40 years, and the sight of these sculptures lined up in the exhibition room is spectacular.
And on the other side of the back wall, in the final exhibition room, Sumikawa's latest work, released in 2019, is on display.
A dignified sense of tension and natural ease.
I would like you to experience the actual work for yourself, so I will refrain from posting any images.

Finally, we will introduce Café Ogurayama's regular limited menu.
This time, they are introducing the "Sori to Mukuri Kinako Latte (450 yen/tax not included)," a kinako-flavored latte topped with gorgeous "oiri," matcha karinto, and gold leaf. Be sure to try this cute latte, which is a little different from the chic image of the exhibition.

This event has now ended.
"Kiichi Sumikawa: Slewing and Turning"
[Dates and Times] Saturday, February 15th - Sunday, May 24th, 10:00-18:00 (Entry until 17:30)
*Open until 8:00 PM on Fridays and Saturdays in May (entry until 7:30 PM)
[Venue] Yokohama Museum of Art
[Closed] Thursdays
[Price] Adults: 1,500 yen, University and high school students: 900 yen, Junior high school students: 600 yen, Elementary school students and younger: Free
*Free admission on Saturday, March 28, 2020!