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石場文子は、日用品の輪郭を黒色の水性ペンで縁取り、写真に撮る。そのささやかな操作によって、縁取られた被写体は平板化したように見え、画面内の遠近感を支える手がかりが失われ、私たちの視覚が捉える空間は次元が混在した不安定なものとなる。画像編集技術がイメージの真正性を揺さぶる現代において、コンストラクテッド・フォトとも異なるシンプルかつアナログな手法で行われるその視覚操作は、絵画から版画を経由して写真へと、石場が用いるメディアが変遷するなかで確立されてきた。一連の作品は、視覚芸術メディアにまつわるオリジナルと複製の概念、そして二次元と三次元の間に生じるリアリティの齟齬を浮かび上がらせ、それらの境界の曖昧さや私たちの知覚の不確かさを表出する。近作では被写体がオブジェ単体から室内風景へと広がり、画面に不在の人物像やそれらの関係性を想像させる作品へと発展している。

Using a black water-based pen, Fumiko Ishiba outlines an everyday product. Then she takes photographs of it. The outlining, a simple procedure, makes the product look two-dimensional in the photographs. The clues that support the perspective in the photo become lost. Differing dimensions co-exist in the space that our eyes see, and the dimensions make the space unstable. In the present age, photo editing technologies are disrupting the notion that images show the truth. Ishiba employs a visual manipulation that uses a simple analog technique that is different from constructed photography. The visual manipulation she uses was developed and established through time, as paintings became prints and prints became photographs (all of these media Ishiba uses). The series of works by her highlights two things. One is the concept of the original and reproduction, which are distinctions that exist with regard to visual art media. Another is the discrepancy that is found when our reality is seen as a 2D image and a 3D image. These pieces reveal the blurry borders between the original and reproduction, and 2D and 3D, and they disclose the unreliability of our senses. In Ishiba’s recent works, the subjects are not single objects. Instead, they are scenes inside rooms. Her works have become pieces that make us imagine the missing occupants and their relationships. This is a new development for Ishiba.