{"id":150831,"date":"2023-04-19T15:00:00","date_gmt":"2023-04-19T06:00:00","guid":{"rendered":"https:\/\/www.momat.go.jp\/?post_type=magazine&#038;p=150831"},"modified":"2023-12-15T16:21:05","modified_gmt":"2023-12-15T07:21:05","slug":"173","status":"publish","type":"magazine","link":"https:\/\/www.momat.go.jp\/en\/magazine\/173","title":{"rendered":"Aoki Noe, Moya 2018-I, 2018"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"533\" height=\"800\" src=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/08\/S00493.jpg\" alt=\"\" class=\"wp-image-147155\" srcset=\"https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/08\/S00493.jpg 533w, https:\/\/www.momat.go.jp\/wp-content\/uploads\/2023\/08\/S00493-133x200.jpg 133w\" sizes=\"(max-width: 533px) 100vw, 533px\" \/><figcaption class=\"wp-element-caption\">Aoki Noe (b.1958-)<br><em>Moya 2018-I<\/em><br>2018<br>steel<br>207.0\u00d7163.4\u00d7150.0<br>Purchased FY2022<br>Photo by Otani Ichiro<\/figcaption><\/figure>\n\n\n\n<p>Aoki Noe drew a large number of circles in chalk on a thick steel plate, then cut them out with a blowtorch and welded them together. This writer remembers being fascinated when watching the artist\u2019s public production of a work, how she built a structure out of repeated lines, as in knitting. It was astonishing to watch a line drawing evolve into sculpture, to see what had been points, lines, and planes defying gravity and standing up dynamically in space. Largely composed of voids, Aoki\u2019s sculptures are fully liberated from the inherent rough texture, solidity, thickness and heft of steel even as they fully expose the material. This characteristic is derived from the principle of constructive sculpture: not shaping a mass by modeling, molding or carving, but centrifugally expanding a work by forging connections.<\/p>\n\n\n\n<p>Since she was a student in the late 1970s, Aoki has made steel her primary material while exploring light and steam, which as weightless, ephemeral phenomena are diametrically opposed to steel, as subjects. Here, it should be noted that than aiming to represent light and steam directly, the artist employs a &nbsp;production process that evokes these motifs. The viewer of her works experiences a sense of dichotomies such as two- and three-dimensional, large and small, heavy and light, rigid and flexible, and coarse and fine being suspended, and that there is movement back and forth across these boundaries. This character is fundamentally woven into her working method, which begins with hand drawing and evolves into sculpture. It is a fascinating aspect of Aoki\u2019s works that her process of creating the works aligns with our experience of them, making viewing the works tantamount to witnessing their basic principles. <\/p>\n\n\n\n<p>With regard to the <em>Moya<\/em> series initiated in 2002, the artist has said, \u201cMoya is the name of a mountain in Aomori. After I installed a sculpture there, a dense fog arose and it was almost impossible to see my surroundings, but when I descended the mountain, skies were clear in the town below. At that time I thought I wanted to construct sculpture like mist,\u201d<sup>1<\/sup> and \u201cI wanted to build up something invisible, like water vapor in the air, or like radioactivity.\u201d<sup>2<\/sup> Her emphasis on phenomena that occur only in specific environments, and on the process of \u201cbuilding up,\u201d seem significant. The title <em>Moya<\/em> (lit. \u201ccloud valley\u201d) is derived from the name of the mountain where the artist once took part in a residency, and the Japanese word <em>moya<\/em> means \u201cmist\u201d while implying the mimetic word <em>moyamoya<\/em>, which describes the appearance of smoke or haze. We invite you to enjoy the dynamism and subtlety of this constructive sculpture that draws the surrounding space into it while rising upward like a misty mountain.<br><\/p>\n\n\n\n<p class=\"has-small-font-size\">[Notes]<\/p>\n\n\n\n<ol>\n<li class=\"has-small-font-size\">\u201cSakka no kotoba\u201d [Artist\u2019s Comment], <em>Aoki Noe: All That Floats Down<\/em> exh. cat., Nagasaki Prefectural Art Museum, 2019, p. 60.<\/li>\n\n\n\n<li class=\"has-small-font-size\">\u201c\u2018Kuma to sake ni\u2019 o oete\u201d [On Completing \u201cFor Bear and Salmon\u201d], <em>Moya-II <\/em>exhibition pamphlet,\u3000Kumatama Studio, 2003.<\/li>\n<\/ol>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\" \/>\n\n\n\n<p class=\"has-text-align-right\"><strong>(<em>Gendai no me, Newsletter of The National Museum of Modern Art<\/em>,<em>\u00a0Tokyo<\/em>\u00a0No.638)<\/strong><\/p>\n","protected":false},"featured_media":139154,"template":"","magazine_category":[274],"series":[276,280,275],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Aoki Noe, Moya 2018-I, 2018 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.momat.go.jp\/en\/magazine\/173\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Aoki Noe, Moya 2018-I, 2018 \uff08\u898b\u308b\u805e\u304f\u8aad\u3080\uff09- \u6771\u4eac\u56fd\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"Aoki Noe drew a large number of circles in chalk on a thick steel plate, then cut them out with a blowtorch and welded them together. 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