『穴場(Ⅱ)/Anaba(Ⅱ)』が早くも展示後半となりました。

前回の展示『穴場/Anaba』に続き、今回も並んだ「建築彫刻」たちは、儚げでありながら、Jonの想いや手仕事が詰まっていて、実際の軽やかな質量以上に、確かな重みを感じさせる存在感があります。技術はさらに磨かれ、構造の堅牢さと精細さが増し、それぞれの作品の個性が際立ち、観ていると時間を忘れるほど没入してしまう。

Vacant/Centreでの展示を観に来ていた彼と初めて出会い、その場で展示をやることに決めた、不思議な縁。この2回目の展示を眺めていても、あのときの直感はやはり間違っていなかったと思わせてくれます。彼の美学は、自分がこのギャラリーを設えたときに込めた「余白」の感覚に呼応し、作品がすっと場に馴染んでいく。この空間全体が、まるで彼の彫刻そのものになったようにも映ります。

日本語の「喜ぶ」という言葉の「よろ（寄る、近づく）」＋「こぶ（強まる、勢いづく）」という語源に沿ってみても、今回の展示はまさに、空間がよろこんでいる、そんな場へと変幻しています。その気配に、より多くの人に立ち会ってもらえたらと願っています。蒸し暑い夏空の最中ではありますが、是非ともお立ち寄りください。

Anaba (Ⅱ) has already entered the second half of its exhibition period.

Following the previous exhibition Anaba, the architectural sculptures presented this time again embody a delicate presence—ephemeral in appearance yet filled with Jon’s intentions and craftsmanship. Despite their light physical mass, they possess a palpable weight that resonates deeply. His technique has evolved even further, with increased structural precision and refinement. Each piece stands out with its own distinct character, drawing the viewer into a state of absorption that makes time slip away.

It was during Jon’s visit to a past exhibition at Vacant/Centre that we first met. In that very moment, we decided to work on a show together—a curious twist of fate. Watching this second exhibition unfold affirms that intuition; it wasn’t wrong. His aesthetics resonate with the sense of “ma” (spaciousness, margin) that I infused into the gallery's design, allowing the works to settle into the space as if they belonged there from the start. At times, it feels as though the entire space itself has become one of his sculptures.

In Japanese, the word for "joy" (yorokobu) originates from yoro (to draw near) and kobu (to gain strength, to flourish). This exhibition feels like the space itself is rejoicing—transformed into a site of quiet elation. I hope more people can witness this atmosphere for themselves. Though it may be the height of a humid summer, I warmly invite you to stop by.