While keep continuing the silent conversation with Goethe's "Theory of Colours", I went toward the nature of Slovakia, a landlocked country of east europe. Various living things, natural caves which hides the overwhelming space in its inside, and the sun. I turned the camera towards (so-called) the insignificant incident, and I paid close attention to those things that related to each other not by language but by the colours that human can not see. The act of touching "the colours that human can't see," with my own bare hands and bare feet, reconnecting this two divided world of the visible world and invisible world is to approaching "the lost memory" which is flowing in human blood and a stream in woods. At the editing process of this film, I returned to the "Theory of Colours" and decide that sequence based on the shooting location and make it simplest as possible. There are seven different chapters, and each chapter begin with a short sentence. And each chapter functioning as the different experience at the different path in forest.

*The film production supported by BANSKÁ ST A NICA artist in residency


わたしはゲーテの『色彩論』と静かな対話を続けながら東欧の内陸国スロバキアの自然の中へと向かった。 様々な生物、闇の中に圧倒的な空間を隠す自然洞窟、そして太陽。わたしはこの言語を超えて繋がり合うものたちの間にある「人間の眼には見えない色彩」に注意をはらい、(謂わば)些細な出来事にカメラを向けた。 「人間の眼には見えない色彩」を素足で踏み、素手で触れ、可視・不可視と分離された世界を再び結びつけていくという行為は、人間の体内を流れる血液と森の小川のなかに共通して流れ続ける「失われた原初の記憶」に接近する事でもあった。 映画の編集に際し、わたしは再び『色彩論』へと立ち返り、撮影された記録は撮影場所に基づいて出来る限り単純に配列するに留めた。 映画の7つの章はそれぞれ短い文章から始まり、各章は森の中の異なる道を通り抜ける経験のように作用する。

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