• KANAZAWA Kenichi

    Born in Tokyo, JAPAN
    Graduated from Tokyo National University of Fine Arts and Music
    Completed the Master Program of Tokyo Univercity of Fine Arts and Music
    Gallery Natsuka, Tokyo (’02)
    “Fragments of Sound – Join Eyes, Ears and Hands” Kawagoe City Art Museum Touch Art Corner, Saitama
    “Shape of Sound – Kanazawa Kenichi Exhibition” Chihiro Art Museum Azumino, Nagano
    “Transfiguration of Steel : Kenichi Kanazawa” Taro Okamoto Museum of Art, Kawasaki, Kanagawa
    “Laboratory 2 – To Strike the Iron – Fragments of Sound” Niitsu Art Forum, Niigata
    Exhibition of Artist in Residence “Transcending Perception” Aomori Contemporary Art Center, Aomori
    “The Art of Breathing in the World – Art and respiration” Kawamura Memorial Museum of Art, Sakura City Museum of Art, Chiba
    “life/art ’04” SHISEIDO GALLERY, Tokyo (’03/ ’02/ ’01)
    Water lily 2003 Garden “Time to flow in the villa” Asahi Beer Oyamazaki Villa Museum, Kyoto
    The 5th Exhibition of Amabiki Village and Sculpture. Yamato, Ibaraki (’01)
    The 20th Exhibition of Contemporary Japanese Sculpture Exhibition. Ube Open-air Sculpture Museum, Yamaguchi
    “CAFE in Mito” Contemporary Art Gallery, Art Tower Mito, Ibaraki
    “A Gift of Remembrance – View / Sound – ” Art Gallery ARTIUM, Fukuoka / Kyoto Art Center, Kyoto / Gallery Kuranuki, Osaka / Yokohama Portside Gallery, Kanagawa
    “I CAN DO IT – Exploring the Senses of Sight, Hearing, Touch” Fuchu Art Museum, Tokyo
    The Exhibition for The Children 2000 “Play the art, learn in the art” Hiroshima City museum of Contemporary Art, Hiroshima

  • Bookends


    22.5×30×31.6 (h)cm ×12(p)

  • Slits on a vertical line


    15×15×360 (h)cm ×2pieces

    How do I really grasp this secluded area surrounded by trees?
    Like marking the passage of time I placed two square iron tubes with sculptured grooves and channels vertically into the ground.
    The relationship in space between these two vertical axes gives birth to a sensation of a gap in time between here, and there.
    Using minimal expression I have tried to create both an understanding and defamiliarization of space.

  • ONIMUSHI’s dreams


    [90-120]x[90-120]x[50-60](h)cm x6pieces

    There was a women working on turning over the soil. Asked what she was doing she said “ONIMUSHI”.
    “ONIMUSHI?” Peeping into a bucket standing nearby, I saw a pile of the pale, translucent larvae of stag beetles.
    I was shocked for a moment. It was an erotic image, like the genitals of adolescent boys.
    Places where fallen leaves pile up are, for these larvae, like a warm and comfortable bed.
    That incident provided the motif for my current piece of work.
    “O-NI MU-SHI” sounds like “the devil bugs”.

  • Formation of movement


    1,800×20×20 (h)cm

    I am thinking of a shape created from steel, standing in the woods, its form following the ground surface, contrasting with the shapes and verticality of the trees.
    Cutting grooves into square steel pipes creates organic curves from the inorganic linearity of that industrial product.
    I will put that curve up against a single wild cherry tree and see what presence the iron exerts in the woods.

  • Fragments of Sound-At an Unmanned Station

    Steel, Rubber, Urethane foam, Nut

    186(ø)×71.5 (h)cm /Table
    47.1×45×85 (h)cm ×4pieces /Chair

    There was nobody in the waiting room of the bleak, unmanned station building. While I waited for the train, I heard only the echo of my breath and footsteps. I wanted something that would imply human presence while serving the purpose of the waiting room. That became a table and chairs that make sounds, which would hold communication between the people who gather in the waiting room.

  • 3 (or like a small tree-house)

    Aluminum, Stainless steel

    15-20×15-30×10(h)cm (×60P)
    0.47kg (1P)

    Leaving the path through the rice fields and moving into the copse, a strange feeling came over me that it would go on forever. Surrounded by trees, as if I had seen something frightening, part of me wanted to go deeper into the heart of the forest. I placed 60 pieces, all variations on a form comprising three square aluminum pipes, dotted among the trees. To move around the forest, in a dialog with its trees. They became rather like little houses atop the trees.

  • Relation Between Bamboo and Iron


    12.5-31.25×25-37.5×250 cm (×9P)
    90 kg (×9P)

    I still remember the amazement I felt one afternoon in the summer of last year when I discovered this deep bamboo grove. I wander through the bamboo grove, and from time to time, I just stop for a while, amid the solemn air and the light that pours down from above. I will erect nine pillar forms in this grove, each consisting of three rectangular steel sections. That resembles the motions of placing my own body among the bamboo. In the time and space of wandering through the grove, the will of the steel, which is the form and material I shaped, slips in and out of view.