≫ English
≫w - Gardens
≫w - others
news letter


大城夏紀 natsuki oshiro





I am always inspired from the structure of something.
Making works is making an instruction manual of the world for me.
And also, by tracing the structure, I would like to focus on the existence of assumptions, systems, and rules that were being made unconsciously.


As a child, I felt with a sense of discomfort in a school where there were many rules in Japan.
In the beginning, we need a rule for a certain purpose, but even after fulfilling the purpose, only the rule may remain. It is common not only in schools, but also in organizations and society, in Japan. When inside the structure, you cannot notice the existence of the outside.

We live on many rules and assumptions which could be change outside of the structure. Something I believe “absolutely yes”, could change to be “no” in the next moment.
When we are indoors, the outline of the building is hard to see. Like this, the outline of the structure is difficult to see from inside. Also, outer world may only look like a superficial picture cut by a window frame.

I would like to explore this theme on the situation without difference in value or right or wrong. Therefore, I focus on this by the semiotics aspect. I gradually shift the linguistic assumptions of the subject and redefine it by using colors and changing shapes on my own rules.

In my work, I make the assumptions (or rules) only in my art.

(For example: I dismantle the subject in words, or go back and forth between 2D and 3D, or extracting the essential structure of the subject by abstraction and so on.)

My assumptions are the process to understand the structure of the subject and also suggest the existence of rules or linguistic assumptions.

The work is like a instruction manual for me to understand the structure of the subject. And I think that it can be a manual or a dictionary that can be shared with others. This is like the process of understanding other languages and cultures. I would like to do tracing the outline of the structures (or rules) like tracing the outline of the building. And this leads to the recognition of the existence of rules, and to the awareness of the existence of "outside values".


[Garden series]

Recently I inspired from traditional gardens such as Japanese gardens and French gardens. I think that the style of the traditional garden shows one aspect of the viewpoint in its culture.

On the making process, at first, I make drawings for the structure of the garden. These drawings include the process of going back and forth between 2D and 3D, by drawing and other materials, or the process of dismantling the subject in words.
Through the process, the form of the garden is changing little by little. This extracts the essence of the structure of the garden.

My rope work series, which depict “a pond in Japanese garden” is showing that it is not only a pond but also a rope at the same time. we can read that there is another possibility. I am interested in like this experience or the situation. 


Natsuki Oshiro, May 2019





子どものころ、たくさんのルールが存在する学校に、ある種の居心地の悪さ、を感じていました。 当初は明確な目的があって決められたルールが、年月が経ったり、伝言ゲームのように複数の人物が介在したりすることで、ルールだけが一人歩きしてしまう、という事態は、誰しも一度は経験したことがあるはずです。


作品において、私は、独自の「前提」を作ってモチーフを再構成するような作業を行います。(言語的に解体してみたり、二次元と三次元を往還してみたり、あるいは構造の本質を抽出するという意味で抽象化を行ったり、作品によってその方法は様々です。) 私の「前提」は、モチーフの構造を理解するためのプロセスであるとともに、表面的な姿をずらしていくことで、言語的前提がそこに存在することを示唆するものでもあります。








ロープを池に見立てた作品があります。 ロープという全く別の異素材を介することで、それは池でもあるけれども、同時にロープでもあり、私たちは、池を見ると同時に、ロープも見ることになるわけです。「もう一つの可能性」を目撃しながらもそこに池という意味を見出すこと。そんなシチュエーションや体験に興味があります。


大城夏紀 2019/5




In daily life, there are a lot of rules and symbolic assumptions.

When calling home as "home"or ”my home”, the building itself becomes invisible.
Conversely, in the Japanese garden, we arrange stones and call them "waterfall".
we will regard the stones as a waterfall.

In garden series and station series, I make models of gardens or station, with familiar tools such as paper or paper tape. And I paint a picture of this model.
So, my work is painting of “Paper model”. But, when I call it “Japanese garden” or "XX station", it will become the picture of them.


Natsuki Oshiro, 2017.5





大城夏紀 2017.5

Other Text

▼(English and Japanese) Text for French gardens / フランス庭園のための作品によせて / 18 May 2019

▼(Japanese only) Article of the Journal published by Waseda University / 早稲田大学「早稲田学報」掲載記事 / March 2018