| My work has a close relationship with the technology of a special makeup. It was in development for about ten years simultaneously with a studio at a university. The work of the special makeup is continued independently after that. The work of this special makeup begins from molding a human body, such as a player’s face. I was doing the molding work of a human body, and thought whether any expressions except a special makeup could ever be performed in another way. Always amazed by plaster figures of the human body done in molding beyond the body of the useful model, I was then inspired to work in this direction. |  |
Shu Konishi
My work has a close relationship with the technology of a special makeup. It was in development for about ten years simultaneously with a studio at a university. The work of the special makeup is continued independently after that. The work of this special makeup begins from molding a human body, such as a player’s face. I was doing the molding work of a human body, and thought whether any expressions except a special makeup could ever be performed in another way. Always amazed by plaster figures of the human body done in molding beyond the body of the useful model, I was then inspired to work in this direction. Ideally when the skin of a model is expressed with other materials, the work should spur viewers’ imagination, and excite their sensation. Sometimes a fastener is embedded in the skin, or I have a woman sculpture bound with ropes; they aim at making a viewer strongly conscious of the skin. A lot of times people receive information or feel things through their skin. In the modern age, however, people suffer from a mental atrophy. I think it is important for people to re-appreciate that cutaneous sensation, which should be the key in regaining original humanity. Maybe cutaneous sensation is an essential element of human beings, along with senses of vision, hearing, and taste, and bringing these feelings alive will make our life richer.
