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『グレン・グールドの黒

又は　ジョアン・ミッチェルのパリでの死。

そして、今、テラトコ・マリコの明日』 

                                                   ミズテツオ （画家）

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　耳にしたことで確かなことではないが、グールドは一年中、黒い冬物のコートを着、黒い皮の手袋をして、アメリカの街中を歩き、カフェでお茶を飲み、その立ち振舞いは誰も彼もその異様さ、美しさに驚き圧倒され、一度目にすると脳裏に焼き付いたという。

又、その演奏も自然？とぶつぶつつぶやきながらピアノを弾き、今迄のピアニストの枠をはみ出していた。

　それは賛否両論の争いを引き起こし、又あるいはスター誕生の為のマスメディアのやらせといってよいかもしれないが、それも、度肝を抜くような新鮮なものであった。

　しかし、今、コートやつぶやきなども、なんてことはないが、誰もがやりたくても二番煎じになる。これも現代のパフォーマンスの悲しきことには変わりはない。しかし、グレン・グールドの勝利といっていいだろう。

　ジョアン・ミッチェルがパリで死んだ。

このこととグールドとどう関係があるのか？これも現代の天才？現代の悲劇に通じるのではないか。ポロックがピカソの遺物に抵抗し、すべてを断念したときに、奇跡のごとくドリッピングを発見してアメリカの寵児になる。この悲劇は天才の宿命なのだろう。

やはり神は彼を人の架け橋に選んでいった。

　ジョアン・ミッチェルの展覧会を三十年程前にパリのジュデ・ポウムで観たが、それは、それは、壁画のような大作で圧倒され、いっきに心を奪われた思いを経験した。これがニューヨーク派のそれも華奢な女性が描いたものとはとても思えず。

　迫力は絵画の上で重要な一要素であることは間違いないと再認識させられた。

　そうして彼女はパリで死す。

歴史的に、多分、めぐるめくパリは彼女を選びしらずにパリで死んだんだと思う。

そしてバルバラのように、パリはミッチエルによう、似合う。

さて、テラトコ・マリコという華奢で小柄な女性はこの音楽家、女流画家二人とのつながりは強引に私が持ってきてとりあげたのだがテラトコの強力なバックボーン、影響は愛していた夫にあるだろう、又夫の援護の上のずるさ、優しさ？我がままはしたたかなものである。

これは優れた芸術家の第一条件でもあり、何が彼女をそうさせたのか、二人の子を育て上げ絵画生活、ある時から色彩はまわりをしのぎ独走体制に入り徐々に迫力を増していった。

　彼女に残された課題は、したたかに、わき目もふらず、優しくし、美しい女にみがきをかけ男をたぶらかし、その身を本来の絵にささげてほしい。

　それは私だけがのぞんでいるのではないでしょう。　

　宿命とはそういうものです。　

 

                                                                        2019.７.１

                                                                         TOKYO No Studio にて

                                                                                        

 

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 Glenn Gould in black, Joan Mitchel died in Paris
, and now Mariko Teratoko’s tomorrow

                                               Mizu Tetuo  (pittore)

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I'm not very certain about the information because I only heard it from others.
Gould wore a black winter coat, and black leather gloves throughout the year.
He would walk around cities in America, drinking tea. His behavior was peculiar but beautiful so much
that everyone was astonished, overwhelmed and he became unforgettable to those he encountered.

In addition, he was spontaneously murmuring when he was playing the piano which was unconventional
Compared to other pianists.
That sparked debate of the pro's and con's,and put-up job
Of the mass media for [A star is born] which was so
Fresh and astonishing.
People thought that wearing a black coat and murmuring is nothing but imitation if others follow.

This shows the sadness of modern performance and victory of Glenn Gould.
Joan Mitchel died in Paris.
How are you connected with this and Gould? Is this a modern genius, too? I may know modern tragedy. When Pollock would't
give up against Picasso, Pollock discovered his  dripping technique like a miracle and become an America's favorite child.
This tragedy will be fate of the geniuses.
After all God chose him as the go-between of the person.
I saw an exhibition of Joan Mitchel in Jeu de paumes of Paris approximately 30 years ago, but I was overwhelmed by her
masterpiece the fresco  instantly. I couldn’t  believe that this was drawn by the delicate woman in the New York group.
I was recognized that force was important one element on a picture.
And should later pass away in Paris.
It seems like Paris chose her as the person to die in Paris in her country  without knowing it historically.
 
And, like Barbara, Mitchel harmonizes with Paris.
And now, the smallish slender woman called “Mariko
Teratoko” .
The reason why I wanted to connect with her and relate her to the musician and the two artists is that she had a strong back bone which is from her unique husband who past away a few years a ago. She was able to devote to producing her colorful arts having  been supported and spoiled by her husband.
This is the most important condition as being a superior artist.
She started to dedicate her life to arts after bringing up two children.
From then on, her work transcended others’ and started to gain force.
The subject which remains is that she is expected to live gently, beautifully and soundly and dedicate the rest of her life to her original drawings.
She is not only expected to do grestly by me but also others too.
If fate is such a thing.
 
                                          
                                                                                   2019.7.1    
                                                                                   At a studio in Tokyo
                                                                                                                   

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Spotlight: Mariko Teradoko

 Artery

 

 November 16, 2020

 

 Spotlight

“The color of memory”

Paul Zimmerman in conversation with Mariko Teratoko

Paul Zimmerman: How did you develop interest in art?

Mariko Teratoko: I have loved drawing since I was a child, and I used to take painting classes. The first exhibition I saw was the Paul Klee exhibition, and I vividly remember that I was impressed by the wonderful colors and composition though I didn’t quite understand them. After that, in junior high school, I met wonderful teachers to motivate myself to draw.

PZ: Have you always been an abstract artist?

MT: In order to take the entrance examination for art college, I studied plaster drawing, still life, croquis, etc. at an art research institute. I have been drawing the human body, still objects, and landscapes since I entered art college, 

but my interests turned to abstract painting. I’m especially influenced by abstract expressionism in the 1950s and 1960s. After graduating from college, I have only painted abstract works.

PZ: Where do you find the inspiration for your paintings?

MT: The idea comes from the original scenery. Mountains, rivers, seas, skies, vegetation, towns, and the people and families who I have come across there. Everything I have experienced can be an idea, and is important to me.

 

PZ: What is the most challenging aspect of your work?

MT: When the feelings and the work do not match. Especially when I feel getting lost, it becomes difficult to settle. So I try not to get lost these days.

In reality, I work in small atelier with some storage space for works. I think Japanese artists generally have trouble with large space. (Due to general shortage of land in Japan.)

PZ: What is your artistic process? How do you create your works?

MT: The first idea is to paint on paper and look for what is visible from there. Then I would establish my feelings and memories on it. Since the canvas work is in oil painting, I try to bring the work closer to what I feel 

by repeating the process in drawing after drying.

PZ: How do you select titles for your paintings?

MT: Since the theme is the color of memory, I don’t name the artwork very concretely. I try to name it with universality, such as “Memory Fragment” for small pieces and “Memory of (some color)” for large works, but sometimes I name it with concrete title. 

PZ: How do you know when the painting is finished?

MT: I feel like the work tells me it that it is good enough.

PZ: What is art for you?

MT: Living, living a life, and important things that are indispensable. I experienced parting with a loved one and art helped me to live at that time. Mr. Tetsuo Mizu, a painter I admire, taught me that “Art can change even a person’s life.” 

I think that art has such madness and also has a kindness that wraps around people.

PZ: What are you working on now?

MT: I am producing a series of 5 pieces of vertically long 227 x 112cm work.

PZ: How does the pandemic influence your work and sensibility?

MT: Every day I used to create new work, and it remains the same. But as I work I express condolences for the deceased and gratitude to the medical staff. When I couldn’t paint I felt at a loss. But I felt that I was given time to think about different things, unlike the days when I had created the artwork as if being chased by something for a long time.

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