Interview #1

大森 悟 先生 (女子美術大学教授)
Professor Satoru Omori (Joshibi University of Art and Design)

内容: 生前の中西との関わり、東京藝術大学での最終授業について、
女子美術大学での企画展「光の種子 後期 中西夏之に就て」

Topic: Relationship with Nakanishi, his last lecture as a professor in Tokyo University of the Arts, The exhibition ”Natsuyuki Nakanishi, I wish I cast seed toward the sun ” at Joshibi University of Art and Design


English version is below.













Q1.Meeting Nakanishi
I think Nakanishi-sensei gave me his opinion for my artworks when I was a Ph.D. student in Tokyo University of the Arts. Because I was in a Ph.D. course, as expected, I was much more independent than a B.F.A. student. So I showed him my artwork and my process.
 One thing that was a little different from other other professors. was he didn’t choose to talk in a way that’s readily understood. He had his own words, own expressions. So, I needed the time to understand his thoughts, thinking “what does he want to say?” So maybe I also wasn’t able to put into words some of the things I’ve thought until I took time to carefully understand them.
Q2Nakanishi’s last class as professor in Tokyo University of the Arts
When I came back to university as an assistant, I remember his class was… he and his students went to the Shinobazu pond at Ueno and they had done an experiment in which they got on some boats with some big wheels and passed by each other. At that time, I had worked with Otake-kun who was also an assistant and he had told me about this class, his experiment, so I had said to him “you have an interesting class”. However, they had experimented a lot, but I could understand only a fragment of the idea of how the class was directly linked to his artwork and what he tried to experiment with the students. So, I hadn’t understood, or at least composed my memory too well of what Nakanishi-sensei was experimenting or his way of thinking in relation to all things about him. We’d talk a lot, we’d do a lot of that, so it was stimulating. In other words, it was more of a fieldwork. I ended up not asking what he was trying to express with their students by doing fieldwork in his last class.

Q3.What I understood from my relationship with Nakanishi
In those days, he had an atelier in Otsuki city, but he still had a part of his atelier in Omori, so we went to both.
And then, our discussion heated up. So I think it’s rare to have such a person. Every time we were deep in conversation, about six hours went by quickly. As expected, I thought he was working on something unique, composing his class by experimenting. In these conversations, there were many mentions about Nakanishi sensei’s works: “this work,” “this experiment in the past” etc… and what had happened in the intervening years in relation to his works.Then, I could start to see the person “Natsuyuki Nakanishi”.
This is because, after all, where a person remembers something may have a lot to do with that person’s personality and sometimes people might notice the other person’s motivation, so I was able to see some emotional aspects.
Such things happened often, he had ups and downs, but when he undulated(made flat) gently it, the results were completed as artwork. As I thought, in fact, he doesn’t just work on something quietly and continuously, like a simple repetition. If you look at the expressions during his youth, you can see that he created a lot of highs and lows, that he moved himself as he was making his work.So, when I interacted with him in the late 1990s and 2000s, I realized that he was making his work in a slightly different way.

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