展覧会に際し、美術評論家の秋元雄史氏にテキストをご寄稿いただきました。

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交感としての「うつし」

——六田知弘 × 橋本雅也

秋元雄史（美術評論家）

本展は、彫刻家・橋本雅也と写真家・六田知弘による二人展であり、「うつし」という行為を通して、世界と人間の関係そのものを再考する試みである。

ここで言う「うつし」とは、対象の形態を一方向的に写し取る模写的行為ではない。それは、主体と客体、見る者と見られるものという近代的な二項対立を揺るがし、意識（私）の外部に広がる世界との相互的な関係生成として理解されるべき概念である。

橋本雅也の彫刻実践は、自然物に手を加えることで、それらが内包してきたものが表出する現象への関心から始まっている。木、動物の角や骨、鉱物、土といった多様な素材を扱いながら、常に表層ではなく、その奥行に潜む構造や時間性へと視線を向けてきた。彼にとって素材は、加工される受動的な対象ではなく、作家の介入によって潜在性を顕在化させる能動的な存在である。

鹿の角や骨、身近な草花をモチーフとした作品群においては、生と死、自然と人為、象徴と実体といった対立項が静かに交錯する。そこでは彫刻は固定された形態ではなく、生成と変容のプロセスとして提示される。形を与えるのではなく、すでにそこに在ったものを引き出す行為なのである。

一方、六田知弘の写真実践は、1980年代初頭にネパール・ヒマラヤのシェルパの村に身を置いた経験に始まる。自然とともに生きる人々との出会いは、「自然や宇宙との根源的なつながり」への志向を決定づけた。

六田の写真は対象の記録ではなく、光・時間・気配が交錯する「場」を定着させる装置として機能する。「地」「水」「火」「風」といったシリーズにおいて、被写体は具体性を保ちながらも、個別性を超え、世界そのものが立ち上がる瞬間へと開かれている。

また六田は、「祈り」と「時」を主題に、日本の仏像、ロマネスク美術、雲岡石窟、ボロブドゥールなど、宗教的・文化的遺産の撮影にも長年取り組んできた。そこでは信仰の対象は単なる美的鑑賞に還元されることなく、人間の祈りと時間の堆積が交錯する場として捉え直される。

ここで「うつし」を抽象化するならば、それは表象以前の世界との接触の形式である。主体が意味づける以前に起こる、感覚と物質、時間と身体の干渉の総体であり、視覚に限らず触覚や重力感覚、時間感覚を含んだ全身的な経験として立ち上がる。

両者の実践が示すのは、作品とは完結した意味を伝達する媒体ではなく、世界との関係が一時的に結晶化する場であるという認識である。写真や彫刻は自然を表すのではなく、自然がこちらに働きかけてくる出来事を受け止める器として存在する。

この態度は、人間中心的な視点を後退させ、人間もまた森羅万象の中で「うつされ続ける存在」であることを示唆する。作品の静けさは、自然への回帰を語るものではなく、世界とともに在ることの困難さと豊かさを問い返している。

写真と彫刻という異なる領域にありながら、二人の実践は視覚中心主義と人間中心主義を静かに解体し、世界とともに在るための感受性を回復させる。本展は、作品を見る場であると同時に、見ることそのものが問い直される場である。

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Utsushi – A Shared Sensibility
Hashimoto Masaya × Muda Tomohiro
This two-person show of works by sculptor Hashimoto Masaya and photographer Muda
Tomohiro is an attempt at reconsidering the relationship between humankind and the world
around them through the process of utsushi. Depending on the character it is written with, the
Japanese word utsushi can take on a variety of meanings, including “copy”, “depict”, “portray”,
“represent”, “reveal”, and more. Here, we do not use the word to refer to the one-way act of
reproducing the form of any given subject. Rather, it is a concept that should be understood as
a reciprocal creative act with the vast world that exists outside of human consciousness (the
self), and challenges the modern binary opposition of subject and object, viewer and viewed.
Hashimoto Masaya’s creative practice stems from an interest in the phenomenon of
forms inherent in natural materials emerging through the process human manipulation. Self-
taught, he works with a variety of materials, including wood, animal antlers and bones,
minerals, and clay. He has continuously focused not on material or motif, but on the vitality,
temporality, and structures lurking within. In his work, the materials are not passive objects to
simply be carved. Rather, through his intervention, they emerge as active agents in the
manifestation of their own potential.
Hashimoto’s signature works – familiar flowers and grasses carved from deer antler and
bone – quietly intertwine the opposing concepts of life and death, natural and artificial, actual
and symbolic. They are not fixed forms, but rather present the processes of creation and
transformation. He does not “give” them form, his approach is to draw out what is already
there, in an act of questioning his relationship with the world.
Muda Tomohiro’s photographic practice began in the early 1980s, when he settled in a
Sherpa village in the Himalayan mountains of Nepal, and photographed the lives of the people
there who lived in harmony with nature. It was this experience that determined the tendency
that runs consistently through his work – a fundamental connection with nature and the
universe. His photographs are not meant to record or reproduce their subjects, but rather
function as a means of capturing the “places” where light, time, and atmosphere intersect. In
his photographic series “Earth”, “Water”, “Fire”, and “Wind”, for example, the subjects of the
photographs are concrete, yet the photographs themselves transcend individuality, and present
the moments when the world itself was first taking form.
Taking up the important themes of “prayer” and “time”, Muda has also photographed
religious subjects and cultural heritage sites, such as Japanese Buddhist sculpture, European
Romanesque art, the Yungang Grottoes in China, Borobudur in Indonesia, and more. These
photographs do not reduce objects of worship to those of aesthetic appreciation, but rather
capture them as things and places where the long accumulation of time intersects with human
prayer. His photographs do not locate the viewer outside of their world, but are made to act as
a medium to draw them in.
Here, if we abstract the concept of utsushi, it could be considered a form of contact with
the world before it is given representation. Utsushi is the sum total of the subtle interactions
between the senses and matter, time and body, that occur before the subject perceives or

assigns meaning to the world. What we see is not limited to our sight, but emerges as a holistic
experience that includes touch, hearing, and even senses of gravity and time.
The practices of both Hashimoto and Muda demonstrate that works of art are not
vehicles that transmit a completed meaning, but are places where our relationship with the
world temporarily crystalizes. Their photographs and sculptures do not “represent” nature or
material, they exist as vessels through which we can come to terms with the forces that nature
and material exert upon us. In that sense, utsushi is both a means of creation, and an outlook
on the world itself.
This outlook quietly retreats from any perspective that places humanity at the center of
the world, and suggests rather that humanity exists as something that has continuously been
part of the utsushi process, interconnected with the greater whole of the world around it. The
tranquility the emanates from the works of Hashimoto and Muda is not a call for a return to
nature or a celebration of spirituality, but rather questions, at the depths of our perception, the
simultaneous hardships and abundances of coexisting with the world.
What these two artists have in common is that they cast aside the image of humankind
as a subject that understands, takes hold of, and controls the world around it; they instead
embrace the idea of humankind as a subject that is transformed by its contact with the world.
The tree leaves that come into sight have an impact on me, at the same time, so do I have an
impact on them. It is precisely this mutual permeation that lies at the heart of the concept of
utsushi.
While photography and sculpture are different fields of expression, the shared practice
of Hashimoto Masaya and Muda Tomohiro quietly does away with ocularcentrism and
anthropocentrism, and reinvigorates the sensibility required to coexist with the world. This
exhibition is not only a place to “see” their works, but is a test site for perception and thought,
where one can reexamine the very act of seeing itself.

Akimoto Yuji
(Art Critic, Professor Emeritus of Tokyo University of the Arts, Artistic Director of GO FOR
KOGEI)

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展覧会情報

六田知弘 × 橋本雅也「現しうつ」

• 会期｜2026年4月18日（土）〜5月30日（土）
• 会場｜ロンドンギャラリー白金
  
  （東京都港区白金3-1-15 白金アートコンプレックス4階）
• 開廊時間｜11:00〜17:00
• 休廊日｜日曜日・月曜日