A Red Life – ecart, 2023
Materials：Gauze, Postcard, Stamp, Frame
Size：15mm × 10.5mm × 3mm/1 piece
Solo shows : Scraped Script はがされた余韻や明ける癒紋
Group shows : VOCA展 2023
Photo by Norihiro Ueno
宮内由梨は近年、「痒みと麻痺」をテーマに制作を行っている。幼少期から続く作家自身の経験に基づきつつも、自身ですら把握/コントロールできない「痒み」に対する関心は共有できないものがとりうる形とは何かという探究へと展開している。今回の出品作品は、2017年から日々続けている〈A Red Life〉を初めて額装し、組作品として構成したもの。〈A Red Life〉は、赤く染めたガーゼ2枚、生成りのガーゼ3枚を葉書に縫い付け、その日の身体を引っ掻くのと同じ強さで引っ掻いたものを知人に送る、という行為の産物である。流通に乗るための機械的な消印を媒介に、体調や精神状態が日々変わる身体のありようを伝える。今回の額縁は皮膚の上で明確な境界を持たない痒みに対して、そこに生じた身体反応の個別性として輪郭を与えているかのようだ。組み替えるとcarte（手紙）にもなるécart（隔たり）を冠して、不安定でありながらも続いていく生の様相を詩的に訴えかけてくる。
– VOCA展2023 推薦文, 内海潤也（石橋財団アーティゾン美術館学芸員）
Miauchi Yuri has been working on the theme of “itch and numbness” in recent years. Based on her own experiences continuing from her childhood, her interest in “itches” that even she herself cannot grasp/control has developed into research on the form something unshareable could assume. The artist has been working on A Red Life continuously on a daily basis from 2017. Here, for the first time, they have been framed and are presented as a group. Two pieces of gauze dyed red and three pieces of unbleached gauze are sewn onto a postcard, which Miauchi scratches in the same way as scratching her own body that day and sends to a friend. Mediated by a mechanical postmark stamped for the sake of distribution, it conveys the artist’s physical condition and mental state, which change from one day to another. Whereas an itch has no precise boundary on the skin, the picture frames in this work seem to be contouring the bodily reaction that occurs there as an individuality. The title écart (gap), a French word which can be rearranged to spell carte (card), poetically conveys aspects of life which continue in spite of instability.
– Utsumi Junya Curator, Artizon Museum, Ishibashi Foundation