《內與肉》
有一天散步時，我漫不經心地想到：「內與肉這兩個字真是相似啊。」於是，我決定深入思考「內與肉」之間的關係。
「內」與「肉」這兩個字，不僅在字形上相似，在意義層面似乎也有共通之處。這共通點在於，兩者的向量都指向內部。然而，指向內部的向量並非單獨成立，外部的存在必然是其前提條件。內與外彼此依存，透過對立而共存。
這一觀點，我是從西田幾多郎的哲學概念「場所」中學到的。「場所」是所有存在顯現的基礎，是超越主體與客體、內與外、肉體與精神等一切對立的場域。由於「場所」不允許對立，而是一切融合為一的根基，因此可以認為在這裡內與外是融為一體的。
對於繪畫的凝視也是如此，它同時包含內與外的元素。這凝視表面上似乎是指向作為客體的繪畫——即自身之外的事物，但事實上它是超越主客對立而存在的東西。繪畫是使這樣純粹凝視成為可能的「場所」，而我的繪畫同樣希望成為這樣一個凝視流動的場域。
―中屋敷 智生
Inner Flesh
One day, while out for a walk, a thought casually crossed my mind: “The characters for ‘inner’ (內) and ‘flesh’ (肉) are strikingly similar.” This sparked my curiosity to delve deeper into the connection between these two words.
The characters for “inner” and “flesh” are not only visually alike but seem to share a conceptual similarity as well: both point inward. However, this inward orientation cannot exist in isolation; the presence of an external counterpart is a necessary precondition. The inner and the outer are interdependent, coexisting through their opposition.
This perspective draws from the philosophical concept of “place” (場所) introduced by Nishida Kitaro. “Place” serves as the foundation for all existence to manifest, transcending dichotomies such as subject and object, inner and outer, body and spirit. In this context, “place” dissolves opposition, functioning as the root where all becomes one. Thus, within this framework, the inner and outer are unified.
The act of gazing at a painting operates similarly, encompassing both inner and outer elements. At first glance, this gaze seems directed outward, toward the painting as an object—something external. Yet, in truth, it transcends the dichotomy of subject and object. Painting creates the “place” where this pure gaze becomes possible, and I aspire for my works to embody such a space where the flow of gazes converges and intertwines.
Text / Tomonari Nakayashiki