Inside the home of Masaki Kanamori stands a cupboard that goes all the way up to the ceiling. Shelved on it are some antiques, some broken pieces of ceramics, paper boats by Ryuji Mitani, as well as a little sculpture made by a thin layer of rusty iron. I always thought that was his work. “I actually picked it up from a construction site,” he said. It has always been his aspiration to make something as unpretentious and integrative as this.
金森正起於三年前在Gallery Yamahon內舉行了首個個人展覽，展品很多都是他在二十多歲時製作的，花了十多年的時間，以天氣、溫度，將它們孕育成他憧憬的樣子，不管是鐵器、錫器又或是銅器，都有著前所未見豐富的表情。三年後的今天，金森正起重回Gallery Yamahon，舉辦作品展〈金屬的表情〉這次他將多年來縈繞在他心裡的想法實現––撫著布、撫著土時，他總被其弱軟而詳和的氣質所觸動，他希望人們能自金屬中得到同樣的感動。聽來有點抽象，但正如山本忠臣在展覽介紹中說：「金森正起的作品的形狀固然充滿了魅力，但比起這，他所感受到的感動，透過作品直接傳來，才是其最扣人心弦之處。」只要走進展覽場地，你定能跟金森正起感受到相同的感動。
Tadaomi Yamamoto, the curator of Gallery Yamahon, once described the tableware of Masaki Kanamori as “A fragile kind of beauty that is easily missed in ordinary life, but conveniently condensed into a piece of utensil by Kanamori.” The enamel tableware made by him doesn’t exude the same stiffness as other factory-made products. For instance, he likes the texture of old paper and white bigleaf hydrangea for their spiritual tranquility. The flower looks strong when the wind blows but could wilt any moment. The beauties of both vitality and delicacy are reflected by a single enamel utensil.
Masaki Kanamori hosted his first solo exhibition in Gallery Yamahon three years ago. Most of the featured works were made in his twenties. No matter if they’re made of iron, zinc or bronze, the pieces have been shaped by the climate over more than 10 years and finally acquired the appearances he desired, showing rich expressions that are unprecedented. Three years have passed, Kanamori is returning to Gallery Yamahon again. In the Masaki Kanamori: Metal Works exhibition, Kanamori is finally executing the ideas he had for years. When Kanamori runs his fingers through fabric or soil, he is always moved by the frail calmness. He has been longing to find the same resonance in metal. It may sound abstract enough, but just like how Tadaomi Yamamoto describes in the introduction of the exhibition, “The shapes portrayed by Kanamori’s works are full of charisma, but it is the sentimentality he is trying to convey through his works that tugs at your heartstrings most.” Once you walk into the exhibition space, you would definitely feel the same sentiments that touched Kanamori’s heart.