I have not detailed information about the time when Nobuyoshi Iwaki has been interested in catastrophic phenomena. He has known as an artist who makes stonesculptures. We may find a sculpture that expresses catastrophic image, although the sculpture is stable and not a catastrophic phenomenon itself. When Iwaki got an idea to produce a catastrophic phenomenon using stone brock, he ought try to become free from solidity and stability of sculpture.
　His first trying was to bring forth an instant of falling down of a stone-pillar which was set up vertically to the ground. Iwaki does not lay the stone-pillar down as an immovable sculpture but as the one which will fall down. The energy, having been drawn for electing the stone, is stored up to put it down. From a standpoint of creating work, the artist is seemed to waste all his efforts. But when we abandon a conception of effectiveness of energy, also that of wastfullness will vanish. This is his thinking.
　The stability of a sculpture was not the only thing from which Iwaki has become free. Not all processes of the falling down of a stone-pillar are not occured through artificial manipulations. Iwaki makes usu of power of sea water, that erodes the seaside, makes unstable the basis of a stone-pillar and finally upset it. Therfore it is impossible for him to forecast precisely the beginning time of falling down. All persons who is watching the stone-pillar know a comming sight but cannot predict when it will happen. The catastrophic phenomenon of this stone-pillar could be said to be a result of conbination of both human and natural powers, and extends from an artificial to the natural world. The natural world is treated for him as an immeasurable cosmos. I think that Iwaki has esteemed an unfathomable character of nature.
　Iwaki has been interested in not only the erosion of sea water but also light of the sun. Adding to the power of sea water, he makes use of the sun light. The time when he sets up the stone-pillar is that of the beginning of flood tide. It must be a fine day. Then it casts a long shadow of the pillar on the beach. He digs a ditch shaping the shadow. Seawater lapping against the shore repeats to fill up a ditch and go away from it. Sand around the basis of the stone-pillar is becoming erosed little by little. And it comes the instant. The pillar falls down to the sea and it splashes about water and makes bursting sound.
　When I saw the event, it happened that a pillar was broken into two blocks. No one could not predict that matter. It does not mean a failure of his project. Because destruction is a typical of catastrophic phenomena. Iwaki could repeat the project, but each phenomenon would not be same as before.
　Iwaki tried to realize another project which was made use of only the and the other was sqare, and he painted the area of shadow, spreading over the bottom of each holl, which characterized undulations of the edge of the holl.
　These tryings by Iwaki may be seen as a manifestation of his faith to Nature. I do not say even his faith but I find him deep respectfulness through his struggling with stone. It has been spreading this feeling from stone to earth, from earth to sea, from sea to sun. Iwaki has expressed his feeling to Nature as an artist act.

June 1988

←RETURN