[Letter to Cremontine]
In late August 2022, Tonkachi sent an email to Cremontine. First, I sent three questions from the tonkachi (this is what we want to convey to the people through her exhibition), and then three questions. These are in JapanFirst solo exhibitionIt was done in the sense of tuning each other.
You are trying to express human "complexity" and "contradictions" by creating a work. The complex contradiction of humans is that human beings have the ability to create an infinite poetic world, but make a truly stupid decision and be obsessed with stupid thoughts. The animals and girls in your work are all your alter ego. The world where animals and girls live is a "correct" and "poetic" world in which good and evil is in harmony. You live in the "right" story, but also exists in the story as a noise (= enemy). You are alive in the "right" story as "incorrect". If your girl is a symbol of our "poetry ability", the girl hates, what she recognizes as an enemy, and threaten the safety of your animals. These are "symbols of evil human beings," and you yourself.
By simultaneously speaking these two stories in one work, you will evoke a complicated emotion to the viewer. It's like starting to talk about fairy tale and murder news articles at the same time. You have been carefully cast the actors that should appear in this nested story and double -copied stories. They include colorful snakes, crystal horns, zinc plating flowers, meteorites, foxes, masks, hikiga fries, crocodile.
You have a new "vocabulary" for a new story. It is an eternal girl and the SS, who are hostile to adults, or are hostile to the "incorrect" story. In your story, they are always cast, and the endless stories are repeated in an inseparable narrative.
You are trying to approach these psychologically. Like the Roreshach test, he is trying to interweave the essence of anxiety, intermingling pleasure and discomfort, showing "vocabulary" with different understanding depending on the viewer. She shakes her emotions and is trying to let the viewer experience her own "pure" and her own "nemesis" at the same time.
And what we feel from there is "humanism" and "trust in humanity" after one lap. Your work is not hopeless at all, you feel that you believe in the story of the story.
[Three questions to Cremontine]
TK: What kind of influence did you get from your parents?
My parents were actors. There, a lot of people gathered, a lot of music, dancing, tremendously large sets, and many props were made. From there, I have been watching colorful vibration and energy since I was a child. I understood that there was something invisible on the other side of the play, which was an open door. For me, it wasn't a special thing, it's like a response from me to energy received from the world. I was a child who was drawing all day long, so I was already immersed in the inner place.
TK: I've heard that since your childhood, I often spent my grandparents (world -famous sculptors) atelier. In other words, you have developed your spirit in a different world where works that are likely to be taken somewhere are lined up. How does that affect you?
Of course, their works have had a big impact on me, and that's the case.François carved animals, and Claude carved flowers and branches. I also use these two themes, but in addition, I often make people who have not used much of my grandparents often appear. It is not easy to inherit your grandparents' huge heritage. But I think I got my own "handwriting" from their heritage. Nevertheless, Claude and François are too unique, fascinating, and frequently humorous, taking the viewer to another place as you say. What they taught me is to see the world with their own "twisted perspective". I think all the arts are there.
TK: Please tell me what has changed until your work is like the present.
I keep searching for a personal and accurate way to express human selfishness and its psychology. You called Roreshach Test, but that's exactly what. I combine something reminiscent of something and symbols. And I hope that the viewer will reinterpret these symbols in their own words. It is not just a girl surrounded by animals, but an uninterrupted metaphor about loss, anxiety, religion, feminism, ecology, collective, strength, and kindness.
【notice】
Tonkachi's new artist is Clemontine de Shabanex, which is based in Paris in the area of contemporary art. gallery"No saw"On September 9, 2022 (Fri), Japan's first solo exhibition was held. We sell works online.
gallery"NOKOGIRIBYTONKACHI)