前売販売は5/14(水)まで！ 2025.5.18sun 15:00〜22:00 石黒ビル音楽祭#3 「肌触れる風、水流れる体内」 会場:石黒ビル一階、地下一階 石川県金沢市尾張町1丁目10-5 " performance " FUJI||||||||||ta/BOKUNOU/AGENCEMENT/Kazuya Matsumoto/Nazukeyo-no Nai Kisetsu/Saburou Hosokawa Jr./JUn hoNKawa/Takuma Imao/Junya Kobayashi/Haru Asaki/Takanoshi/Toshihiro Nomura " DJ " Toshiya Watari/PPTV/OSHIKOME/Dn Leck " Food " ・AFTERGLOW CHOCOLATE クラフトチョコレート ・Frerot 軽食/ナチュラルワイン ・潤喫茶素子 　ソフトドリンク/お酒 【注意点】 ・こちらをご購入いただいた方は前売り価格の4000円でご入場できます。 ・4000円を一枚につき、お一人様のみのご入場となります。 ・特にチケットなどが自宅に届くことはありません。当日イベント会場の受付にて、お名前をお申し出ください。 ・小学生以下のお子さんを一緒に連れて来られる方は備考欄にお子様の人数をお書きください。 2025.5.18sun 15:00-22:00 Ishiguro Building Music Festival #3 "Wind touching the skin, water flowing inside the body" Venue: 1st floor and basement of Ishiguro Building 1-10-5 Owaricho, Kanazawa City, Ishikawa Prefecture "Performance" Yosuke Fujita/BOKUNOU/AGENCEMENT/Kazuya Matsumoto/Nazukeyo-no Nai Kisetsu/Saburou Hosokawa Jr./Jun hoNKawa/Takuma Imao/Junya Kobayashi/Haru Asaki/Takanoshi/Toshihiro Nomura "DJ" Toshiya Watari/PPTV/OSHIKOME/Dn Leck "Food" ・AFTERGLOW CHOCOLATE Craft chocolate ・Frerot Snacks/Natural Wine Junkissa Motoko Soft Drinks/Alcohol [Notes] -Those who purchase this ticket can enter for the advance price of 4,000 yen. -Only one person can enter per 4,000 yen ticket. -Tickets will not be delivered to your home. Please state your name at the reception desk at the event venue on the day. -If you are bringing children of elementary school age or younger, please write the number of children in the comments section.

田宮 亜紀 Aki Tamiya 灰被壺 W120㎜ D120㎜ H105㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W120㎜　D120㎜　H105㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W120㎜ D120㎜ H107㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W120㎜ D120㎜ H107㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H118㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W100㎜ D100㎜ H80㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W100㎜ D100㎜ H80㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W100㎜ D100㎜ H80㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W90㎜ D90㎜ H80㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W90㎜ D90㎜ H80㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W90㎜ D90㎜ H90㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W90㎜ D90㎜ H90㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W110㎜ D110㎜ H95㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H100㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H100㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H100㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H100㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H100㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H115㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H115㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W110㎜ D110㎜ H95㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W110㎜ D110㎜ H95㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H105㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H105㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W130㎜ D130㎜ H105㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W130㎜ D130㎜ H105㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W120㎜ D120㎜ H95㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W120㎜ D120㎜ H95㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W110㎜ D110㎜ H90㎜ 今成誠一氏、故・青木亮氏と交流を重ねながら、 作家としての活動を開始する。焼締にこだわり、壺の制作を中心に作陶を続けている。 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W110㎜ D110㎜ H90㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W115㎜ D115㎜ H805㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W115㎜ D115㎜ H805㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W200㎜ D200㎜ H155㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W200㎜ D200㎜ H155㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W200㎜ D200㎜ H120㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W200㎜ D200㎜ H120㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W190㎜ D190㎜ H155㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W190㎜ D190㎜ H155㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

田宮 亜紀 Aki Tamiya 灰被壺 W180㎜ D180㎜ H170㎜ 東京都出身 1996 益子築窯 1999 静岡築窯 2000 穴窯築窯 静岡在住 ●会場 : GALLERY ソシ SOSI : 金沢市鱗町114-1 1階 ●お問い合わせ : [email protected] Aki Tamiya Ash-covered pot W180㎜ D180㎜ H170㎜ Through his interactions with Seiichi Imanari and the late Ryo Aoki, he began his career as an artist. He is particular about yakishime and continues to make pottery, focusing on the production of pots. ●Venue: GALLERY SOSI: 1st floor, 114-1 Urokomachi, Kanazawa City ●Inquiries: [email protected]

阿弥陀堂 段ボール/紙菅/木/プラ W70 H46.5 D57 (㎝) 本堀 雄二 yuji honbori 1958 兵庫県神戸市生まれ 1983 愛知県立芸術大学 彫刻専攻大学院修了使い古し の段ボールから仏像を制作する本堀。 その仏像は正面から見ると透過している ように見え、角度を変え、横から見ると段ボールの断片が立体的に 浮かび上がってきます。 本堀は日常生活の中で人々の手によって消費された物 （ダンボールや古紙、紙パックなど）を再生することに重要な意味を 見出しています。それは環境問題やリサイクルといった言葉で語られるもの ではなく、仏教の” 輪廻転生” の概念に近いものであるといいます。1995 年に 発生した大規模な地震、阪神・淡路大震災を経験して以降、本掘は新しい材料 を使うことに抵抗を感じる様になり、身近に手に入り、加工の可能な 段ボールという素材に辿り着きました。 「捨てる紙あれば、拾う神あり。」とい う合言葉を携えた彼は、用途を終えた段ボールから人々が崇める神仏を作り だすというギャップによって見るものの興味を刺激し、作品の持つ強さと 尊厳がその心をとらえて放しません。 ＜個展＞ 2010 INAX ギャラリー（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2011 アートフェアー東京 NANZUKA ブース（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2013 風神雷神 NANZUKA（東京） 2014 AISHONANZUKA（香港） 2017 薬師堂 NANZUKA（東京） 2018 Passion みほとけ Gallery Yamaki Fine Art（神戸） ＜グループ展＞ 2009 神戸ビエンナーレ 2009（兵庫） 2011 シャッフル 白金アートコンプレックス（東京） 神戸ビエンナーレ 2011（兵庫） 2012 シャッフルⅡ アートフェア東京 2014 PRUDENTIAL EYE AWARDS（シンガポール） 2018 リサイクルアート展 2018 キタサン広場（北海道・札幌） 2019 第 22 回岡本太郎現代芸術賞（TARO 賞）川崎市岡本太郎美術館（神奈川） ＜受賞＞ 2019「第 22 回岡本太郎現代芸術賞（TARO 賞）」入選 Eleven-faced Kannon PET bottle/oil-based ink W14 H15 D47 (cm) Yuji Honbori Born in Kobe, Hyogo Prefecture in 1958 Graduated from the Graduate School of Sculpture at Aichi Prefectural University of Fine Arts and Music in 1983 Honbori creates Buddha statues from used cardboard. When viewed from the front, the statues appear transparent, but when viewed from the side at different angles, the cardboard fragments emerge in three dimensions. Honbori finds great significance in recycling things that have been consumed by people in their daily lives (cardboard, waste paper, paper cartons, etc.). This is not something that can be described as an environmental issue or recycling, but is closer to the Buddhist concept of "reincarnation." After experiencing the Great Hanshin-Awaji Earthquake, a large-scale earthquake that occurred in 1995, Honbori began to feel reluctant to use new materials, and he came up with the material of cardboard, which is readily available and can be processed. With the motto "There is paper to throw away, there is a god to pick up," he stimulates the interest of viewers by creating gods and Buddhas that people worship from discarded cardboard, and the strength and dignity of his works capture their hearts. 1958 Born in Kobe City, Hyogo Prefecture 1983 Graduated from Aichi Prefectural University of Arts, majoring in sculpture Honbori creates Buddhist statues from used cardboard. The Buddha statue appears to be transparent when viewed from the front, and when viewed from the side at a different angle, it is made of cardboard.The fragments emerge three-dimensionally. Honbori collects items that are consumed by people's hands in daily life (cardboard, waste paper, paper cartons, etc.).I find important meaning in rebirth. This is not something that is talked about in terms of environmental issues or recycling, but rather the concept of reincarnation in Buddhism.It is said to be close to a concept. After experiencing the large-scale earthquake that occurred in 1995, the Great Hanshin-Awaji Earthquake, we decided to use new materials for the main excavation.I started to feel a sense of resistance, so I found a material called cardboard, which is readily available and can be processed. They say, “If there is paper to throw away, there is a god who will pick it up.” Armed with a password, he creates the gods and Buddhas that people worship from cardboard that has no longer been used, which stimulates the interest of those who see it. The strength and dignity of his work captures our hearts and never lets go. <Solo exhibition> 2010 INAX Gallery (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2011 Art Fair Tokyo NANZUKA booth (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2013 Fujin Raijin NANZUKA (Tokyo) 2014 AISHONANZUKA (Hong Kong) 2017 Yakushido NANZUKA (Tokyo) 2018 Passion Mihotoke Gallery Yamaki Fine Art (Kobe) <Group exhibition> 2009 Kobe Biennale 2009 (Hyogo) 2011 Shuffle Shirogane Art Complex (Tokyo) Kobe Biennale 2011 (Hyogo) 2012 Shuffle II Art Fair Tokyo 2014 PRUDENTIAL EYE AWARDS (Singapore) 2018 Recycled Art Exhibition 2018 Kitasan Plaza (Sapporo, Hokkaido) 2019 22nd Taro Okamoto Contemporary Art Award (TARO Award) Kawasaki City Taro Okamoto Museum (Kanagawa) <Award> 2019 Selected for the 22nd Taro Okamoto Contemporary Art Award (TARO Award)

十一面観音 ペットボトル/油性インク W14 H15 D47 (㎝) 本堀 雄二 yuji honbori 1958 兵庫県神戸市生まれ 1983 愛知県立芸術大学 彫刻専攻大学院修了使い古し の段ボールから仏像を制作する本堀。 その仏像は正面から見ると透過している ように見え、角度を変え、横から見ると段ボールの断片が立体的に 浮かび上がってきます。 本堀は日常生活の中で人々の手によって消費された物 （ダンボールや古紙、紙パックなど）を再生することに重要な意味を 見出しています。それは環境問題やリサイクルといった言葉で語られるもの ではなく、仏教の” 輪廻転生” の概念に近いものであるといいます。1995 年に 発生した大規模な地震、阪神・淡路大震災を経験して以降、本掘は新しい材料 を使うことに抵抗を感じる様になり、身近に手に入り、加工の可能な 段ボールという素材に辿り着きました。 「捨てる紙あれば、拾う神あり。」とい う合言葉を携えた彼は、用途を終えた段ボールから人々が崇める神仏を作り だすというギャップによって見るものの興味を刺激し、作品の持つ強さと 尊厳がその心をとらえて放しません。 ＜個展＞ 2010 INAX ギャラリー（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2011 アートフェアー東京 NANZUKA ブース（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2013 風神雷神 NANZUKA（東京） 2014 AISHONANZUKA（香港） 2017 薬師堂 NANZUKA（東京） 2018 Passion みほとけ Gallery Yamaki Fine Art（神戸） ＜グループ展＞ 2009 神戸ビエンナーレ 2009（兵庫） 2011 シャッフル 白金アートコンプレックス（東京） 神戸ビエンナーレ 2011（兵庫） 2012 シャッフルⅡ アートフェア東京 2014 PRUDENTIAL EYE AWARDS（シンガポール） 2018 リサイクルアート展 2018 キタサン広場（北海道・札幌） 2019 第 22 回岡本太郎現代芸術賞（TARO 賞）川崎市岡本太郎美術館（神奈川） ＜受賞＞ 2019「第 22 回岡本太郎現代芸術賞（TARO 賞）」入選 Eleven-faced Kannon PET bottle/oil-based ink W14 H15 D47 (cm) Yuji Honbori Born in Kobe, Hyogo Prefecture in 1958 Graduated from the Graduate School of Sculpture at Aichi Prefectural University of Fine Arts and Music in 1983 Honbori creates Buddha statues from used cardboard. When viewed from the front, the statues appear transparent, but when viewed from the side at different angles, the cardboard fragments emerge in three dimensions. Honbori finds great significance in recycling things that have been consumed by people in their daily lives (cardboard, waste paper, paper cartons, etc.). This is not something that can be described as an environmental issue or recycling, but is closer to the Buddhist concept of "reincarnation." After experiencing the Great Hanshin-Awaji Earthquake, a large-scale earthquake that occurred in 1995, Honbori began to feel reluctant to use new materials, and he came up with the material of cardboard, which is readily available and can be processed. With the motto "There is paper to throw away, there is a god to pick up," he stimulates the interest of viewers by creating gods and Buddhas that people worship from discarded cardboard, and the strength and dignity of his works capture their hearts. 1958 Born in Kobe City, Hyogo Prefecture 1983 Graduated from Aichi Prefectural University of Arts, majoring in sculpture Honbori creates Buddhist statues from used cardboard. The Buddha statue appears to be transparent when viewed from the front, and when viewed from the side at a different angle, it is made of cardboard.The fragments emerge three-dimensionally. Honbori collects items that are consumed by people's hands in daily life (cardboard, waste paper, paper cartons, etc.).I find important meaning in rebirth. This is not something that is talked about in terms of environmental issues or recycling, but rather the concept of reincarnation in Buddhism.It is said to be close to a concept. After experiencing the large-scale earthquake that occurred in 1995, the Great Hanshin-Awaji Earthquake, we decided to use new materials for the main excavation.I started to feel a sense of resistance, so I found a material called cardboard, which is readily available and can be processed. They say, “If there is paper to throw away, there is a god who will pick it up.” Armed with a password, he creates the gods and Buddhas that people worship from cardboard that has no longer been used, which stimulates the interest of those who see it. The strength and dignity of his work captures our hearts and never lets go. <Solo exhibition> 2010 INAX Gallery (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2011 Art Fair Tokyo NANZUKA booth (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2013 Fujin Raijin NANZUKA (Tokyo) 2014 AISHONANZUKA (Hong Kong) 2017 Yakushido NANZUKA (Tokyo) 2018 Passion Mihotoke Gallery Yamaki Fine Art (Kobe) <Group exhibition> 2009 Kobe Biennale 2009 (Hyogo) 2011 Shuffle Shirogane Art Complex (Tokyo) Kobe Biennale 2011 (Hyogo) 2012 Shuffle II Art Fair Tokyo 2014 PRUDENTIAL EYE AWARDS (Singapore) 2018 Recycled Art Exhibition 2018 Kitasan Plaza (Sapporo, Hokkaido) 2019 22nd Taro Okamoto Contemporary Art Award (TARO Award) Kawasaki City Taro Okamoto Museum (Kanagawa) <Award> 2019 Selected for the 22nd Taro Okamoto Contemporary Art Award (TARO Award)

毘沙門天 発泡スチロール/油性インク W10 H8.5 D28 (㎝) 本堀 雄二 yuji honbori 1958 兵庫県神戸市生まれ 1983 愛知県立芸術大学 彫刻専攻大学院修了使い古し の段ボールから仏像を制作する本堀。 その仏像は正面から見ると透過している ように見え、角度を変え、横から見ると段ボールの断片が立体的に 浮かび上がってきます。 本堀は日常生活の中で人々の手によって消費された物 （ダンボールや古紙、紙パックなど）を再生することに重要な意味を 見出しています。それは環境問題やリサイクルといった言葉で語られるもの ではなく、仏教の” 輪廻転生” の概念に近いものであるといいます。1995 年に 発生した大規模な地震、阪神・淡路大震災を経験して以降、本掘は新しい材料 を使うことに抵抗を感じる様になり、身近に手に入り、加工の可能な 段ボールという素材に辿り着きました。 「捨てる紙あれば、拾う神あり。」とい う合言葉を携えた彼は、用途を終えた段ボールから人々が崇める神仏を作り だすというギャップによって見るものの興味を刺激し、作品の持つ強さと 尊厳がその心をとらえて放しません。 ＜個展＞ 2010 INAX ギャラリー（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2011 アートフェアー東京 NANZUKA ブース（東京） ギャラリー白（大阪） BUTSU 鎌倉長谷寺（神奈川） 2013 風神雷神 NANZUKA（東京） 2014 AISHONANZUKA（香港） 2017 薬師堂 NANZUKA（東京） 2018 Passion みほとけ Gallery Yamaki Fine Art（神戸） ＜グループ展＞ 2009 神戸ビエンナーレ 2009（兵庫） 2011 シャッフル 白金アートコンプレックス（東京） 神戸ビエンナーレ 2011（兵庫） 2012 シャッフルⅡ アートフェア東京 2014 PRUDENTIAL EYE AWARDS（シンガポール） 2018 リサイクルアート展 2018 キタサン広場（北海道・札幌） 2019 第 22 回岡本太郎現代芸術賞（TARO 賞）川崎市岡本太郎美術館（神奈川） ＜受賞＞ 2019「第 22 回岡本太郎現代芸術賞（TARO 賞）」入選 Bisyamonten Cardboard/Paper tube/Wood W10 H8.5 D28 (㎝) Yuji Honbori Born in Kobe, Hyogo Prefecture in 1958 Graduated from the Graduate School of Sculpture at Aichi Prefectural University of Fine Arts and Music in 1983 Honbori creates Buddha statues from used cardboard. When viewed from the front, the statues appear transparent, but when viewed from the side at different angles, the cardboard fragments emerge in three dimensions. Honbori finds great significance in recycling things that have been consumed by people in their daily lives (cardboard, waste paper, paper cartons, etc.). This is not something that can be described as an environmental issue or recycling, but is closer to the Buddhist concept of "reincarnation." After experiencing the Great Hanshin-Awaji Earthquake, a large-scale earthquake that occurred in 1995, Honbori began to feel reluctant to use new materials, and he came up with the material of cardboard, which is readily available and can be processed. With the motto "There is paper to throw away, there is a god to pick up," he stimulates the interest of viewers by creating gods and Buddhas that people worship from discarded cardboard, and the strength and dignity of his works capture their hearts. 1958 Born in Kobe City, Hyogo Prefecture 1983 Graduated from Aichi Prefectural University of Arts, majoring in sculpture Honbori creates Buddhist statues from used cardboard. The Buddha statue appears to be transparent when viewed from the front, and when viewed from the side at a different angle, it is made of cardboard.The fragments emerge three-dimensionally. Honbori collects items that are consumed by people's hands in daily life (cardboard, waste paper, paper cartons, etc.).I find important meaning in rebirth. This is not something that is talked about in terms of environmental issues or recycling, but rather the concept of reincarnation in Buddhism.It is said to be close to a concept. After experiencing the large-scale earthquake that occurred in 1995, the Great Hanshin-Awaji Earthquake, we decided to use new materials for the main excavation.I started to feel a sense of resistance, so I found a material called cardboard, which is readily available and can be processed. They say, “If there is paper to throw away, there is a god who will pick it up.” Armed with a password, he creates the gods and Buddhas that people worship from cardboard that has no longer been used, which stimulates the interest of those who see it. The strength and dignity of his work captures our hearts and never lets go. <Solo exhibition> 2010 INAX Gallery (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2011 Art Fair Tokyo NANZUKA booth (Tokyo) Gallery Shiro (Osaka) BUTSU Kamakura Hasedera Temple (Kanagawa) 2013 Fujin Raijin NANZUKA (Tokyo) 2014 AISHONANZUKA (Hong Kong) 2017 Yakushido NANZUKA (Tokyo) 2018 Passion Mihotoke Gallery Yamaki Fine Art (Kobe) <Group exhibition> 2009 Kobe Biennale 2009 (Hyogo) 2011 Shuffle Shirogane Art Complex (Tokyo) Kobe Biennale 2011 (Hyogo) 2012 Shuffle II Art Fair Tokyo 2014 PRUDENTIAL EYE AWARDS (Singapore) 2018 Recycled Art Exhibition 2018 Kitasan Plaza (Sapporo, Hokkaido) 2019 22nd Taro Okamoto Contemporary Art Award (TARO Award) Kawasaki City Taro Okamoto Museum (Kanagawa) <Award> 2019 Selected for the 22nd Taro Okamoto Contemporary Art Award (TARO Award)