mauve de jour
自分にも黒若しくは黒と赤の時代があり青と茶の季節も当然あったが後年ロンドンで通っていた学校で性格から色を算定するという授業があり引き裂かれている自分の色はモオブだということになった モオブといえばゴッホにsouvenir de mauve（モオブ氏の形見）てふ庭の杏の作品あり同じく異様な厚塗りに特徴のある祖父碓田克己にも同じく長野の馴染みの杏の花の白の飛沫をぶち撒けた油彩が遺されていてほんらいのモオブよりも白眼勝を自分のモオブと誤読して以来ブログですとかチラシだとかの背景に殊更に充てがうことになり日本に帰って最初に作ったCDもタイトルをSouvenir de Mauveと名付けるほどだった 今回の展示やサンプル盤のジャケットの制作にあたっては祖父の遺品の描きかけのキャンバスにmauveを塗るという一点に絞りblues du jourというマヘルの即興のフォーマットを平面に転用し戦前からの具象抽象の油絵科史に渡りを付けてmauve du jourというタイトルにしてみた
There was a time when I was black, or black and red, and there was a time when I was blue and brown. But then, at the school I was attending in London, I had a class on determining a person’s color based on their personality. And I came to know that “mauve” was my color, representing my torn self. Speaking of mauve, there is Van Gogh’s “Souvenir de Mauve” (Mr. Mauve’s Memento), in which he painted an apricot tree in the garden. Similarly, my grandfather, Katsumi Usuda, known for his unusually thick paintings, left behind an oil painting of his familiar white apricot petals, scattered like droplets. So I misinterpreted my mauve as being closer to white than the original mauve, and ever since then I have dared to use this interpretation of mauve in my blog backgrounds and flyers. So much so that when I returned to Tokyo, I named my first CD “Souvenir de Mauve” . For the exhibition at void and the sample LP cover, I focused on the act of painting, which consisted of applying the mauve I had mixed that day to my grandfather’s unfinished canvas. I applied Maher’s “blues du jour” format to a two-dimensional work. The title “mauve du jour,” voides the pre- and post-war history of the oil painting department, both figurative and abstract.