相比陶器，用鋁製作的餐具和家具，視覺或觸感上都予人冰冷感覺，物件與人之間彷彿存在著一種不好觸碰的距離。或許這只是固有的想法。對日本金工家永瀨二郎來說，冰冷的鋁相比其他金屬更有發揮的潛力，融入創意的想像和手造的溫度後，營造了一種剛好的距離感，就像與一個慢熱的人相處，適度的距離讓人感到安全舒適。
三年前才獨立的永瀨二郎，除了製作器皿，還有家具、文具和花瓶等；作為一名樂器迷，永瀨更是熱衷於樂器製作。專注地使用鋁來創作的永瀨十分重視物件與情感的連繫，他的作品往往需要花很多工序和機器完成，以現代的工業生產角度來說，效率欠奉，但是手造的溫度是無法取代的。簡潔堅固的外形、鋁片上打磨痕跡和凹凸不平的表面，加上他天馬行空的想法，使作品看起來粗獷而細膩、實用又富趣味。永瀨說，當你日夜使用它時，鋁的表面會變得有光澤，還有人與物件的情感，看上去自然不再冰冷。
Cutlery and furniture made of aluminum, compared to those of porcelain, are icy to the touch as well as to the eyes, as if an unbreachable distance is established between the objects and the humans. Perhaps it is just established thinking. In the eyes of Jiro Nagase, a Japanese metalwork artist, icy aluminum holds larger potential than other metals. By incorporating his own creative imagination and the warmth of his handmade touch, he creates just the right distance, which is akin to getting along with a person who is slow to warm up. An appropriate distance makes one feel safe and comfortable.
Turning independent only three years ago, Jiro Nagase created not only wares but also furniture, stationery and vases. He is also passionate about making instruments, of which he is an ardent lover. Nagase, who specializes in aluminum-made creations, attaches great importance to the connection between an item and emotions. Oftentimes it requires many procedures and machines to bring his works to completion. From the perspectives of modern industrial manufacturing, it lacks efficiency. Nevertheless, the warmth of hand-made creations is irreplaceable. Simplistic and solid external features, coupled with uneven surfaces bearing polishing traces of aluminum pieces and his outlandish ideas, make his creations look rough yet delicate, practical yet intriguing. Following repeated uses night and day, aluminum develops luster on its surface. Complemented by the feelings established between the user and the object, it naturally will no longer look icy.
OB：OBSCURA
J：Jiro Nagase
OB：可以談談早前於Hakujitu舉辦的個人展覽嗎？展覽裡有沒有全新製作的作品？
J：白日（Hakujitu）是一間偏重古物和工匠盛器的藝廊，所以辦個展時，特意盡量展示涵蓋多個範疇的作品。為了這次展覽，新製作了「傘架系列」和將鋁片以徒手切割的方式切割成新形狀的「橫切面系列」。傘架基本上是L型的，把兩個或以上的圓筒形構造的單件合拼使用，不論是放置於房間中的凸角或凹角均可，甚至還可以像俄羅斯方塊般組合成各種形狀。
OB：你的作品當中，有沒有你最喜愛或常用的作品？
J：稱作MFC（Modular Folding Chair）的組裝式摺椅本來是為了在自己的工作室內使用而製作的。設計原意是讓我可以在客人到訪的時，可立刻拿出來使用。在工作室內亦會常常用到紙膠帶（Masking Tape），所以亦放置了一共三款的膠紙座來使用。
OB : Could you tell us a bit about your solo exhibition at Hakujitu earlier? Did your exhibits include any brand new creations?
J: Hakujitsu is an art gallery that gives emphasis to antiquities and artisan wares. That’s why when I was preparing for this exhibition, I made a point to cover a wide range of works. My new creations for this exhibition include the “umbrella stand series”, and the “cross section series”, in which aluminium blocks are hand-cut into new shapes. The umbrella stand is basically in L-shape, and is formed by combining two or more cylindrical components which can be placed at either an internal or an external corner of a room. A variety of shapes can also be formed just as one does with Tetris blocks.
OB: Among your creations, are there particularly ones that you like or use frequently?
J: I first designed the Modular Folding Chair to be used in my own studio. My original intention was to design something that I can conveniently pull out to use whenever there are guests visiting. I often use masking tapes as well in the studio so I have three different tape dispensers ready for use.
OB：可以談談你的椅子系列嗎？
J：稱作MFC（Modular Folding Chair）的組裝式摺椅本來是為了在自己的工作室內使用而製作的。一切都是源於自己的任性，想造一張既不佔位置、又容易使用，同時可靠穩妥的椅子。反覆實驗之中，就萌生了設計既可「摺疊」又能「組裝」的椅子的念頭。製成品就是以簡單的MFC plain為本，按需要加裝扶手、靠背和坐墊等組件。
製作期間，我貪玩地加入過量的自由組裝配件，包括沒有功能的組件，繼而發現椅子原本用來坐的功能被「騎劫」，覺得很有意思，於是想出了MFC hacking series這個以藝術品或概念模型方式呈現的作品。MFC hacking series是在MFC plain的基礎上，加配多種自由組合的配件，如飲品架、讓椅子前後搖晃的組件、靠頸墊、投映器和爆谷架等，組裝成極富作品性的椅子，跟以功能性為主的椅子相比，又別有一番趣味。
除了當它是普通的椅子般使用，用家也可以按場合，以各種不同用法和配搭使用，這是挺有趣的。而且，透過活用「組件」的特性，讓我可作多方面的嘗試，例如跟使用另類素材的藝術家和品牌合作。MFC既是實用性的道具，也可能成為表現的平台。
OB: Could you tell us about your chair series?
J: I first designed the Modular Folding Chair (MFC) to be used in my own studio. It all began with my craving to create a chair which does not take up space, and is easy to use, solid and reliable. After repeated experimentations, I came up with the idea to create a chair that can be folded and assembled. The end product is a simple MFC plain chair, which serves as the base design, and optional components, such as armrest, backrest and seat cushion, can be added according to preferences.
During the production process, out of fun, I tried to add in an excessive amount of components, including those without any functions. Over the course I realized that the original function of a chair for sitting was hijacked, and that intrigued me. That was how I came up with the idea of creating the MFC hacking series, which is presented in the form of an artwork or a conceptual model. The MFC hacking series uses MFC plain as the foundation, to which a free combination of a variety of components, including drink holder, rocker, neck rest, projector, popcorn holder, can be added to form a chair rich in artistic qualities. It boasts intriguing qualities of its own compared to chairs which principally serve functional purposes.
Apart from treating it as a normal chair, users can also use it for a variety of purposes and add in components of their choice, which can be fascinating. In addition, by utilizing this component-based design, I can experiment with a range of new endeavors, such as entering into collaboration with different artists and brands. MFC is not only practical tool but also a platform for expression.
OB：外觀與實用，你比較注重哪一方面？
J：「實用」是甚麼，要看你怎樣詮釋。我的想法是，外觀亦包含在實用之中。對我來說，人與物件的情感連結才是最重要的，物件的價值對每個使用者來說都不同。在創作過程中，基本上是根據功能和素材之間的關係來決定物件的形狀，而非考慮裝飾性。
OB：為什麼你會選擇鋁作為你創作的主要媒介？
J：有些素材，我是喜歡其氛圍，如它的色澤、輕重等，同時，我覺得歷史較淺的素材亦頗為有趣。相比作為素材已有數千年的歷史的鐵、銅、金和銀，鋁不過在一百多年前才開始普及，在工藝層面上，鋁也沒有受到重視。因此，我認為鋁是很有潛力的素材。
現時鋁等一類的金屬素材的製作大多變得規格化，品質非常均一，只要是按設計圖加工，就不會有任何偏差，卻難以展現材料本身的個性。陶器或木材的成品每個均有差異，亦會帶有瑕疵和偶然性。我曾學過傳統金工技術和技法，因此在製作過程中，我會融入自己不能控制的元素，繼而出現了「SIBORI系列」和「橫切面系列」，展現了我對素材本身的瑕疵與偶然性的憧憬。
OB： 創作上有沒有遇到困難的地方？
J：要不限制想像並利用金屬來創作，首先要能夠將念頭化成實物。製作過程必須同時兼顧感性的頭腦和使用技術、機器的工程師頭腦。這是既困難又有趣的地方。
OB: Do you attach greater importance to appearance or to function?
J: What is function? It depends on how you interpret it. As I see it, appearance is part of function. To me, the most important thing is the emotional connection between people and objects. The value of an object varies from a user to another. During the creation process, I decide on the shape of an object based on the relationship between function and raw materials rather than on decorative aspects.
OB: Why did you pick aluminium as your principal medium for creative expression?
J: I like the qualities of some materials, including their colours and weight. At the same time, I’m also intrigued by materials with a shorter history. Compared to materials boasting several thousand years of history such as iron, copper, gold and silver, aluminium became commonplace only around one hundred years or so ago. Aluminium has also been overlooked in the field of arts and crafts. Therefore, I consider aluminium to be a material with a lot of potential.
Nowadays, the production process using metals such as aluminium has mostly been standardized for consistent quality. As long it is processed according to the design layout, there won’t be any deviations but at the same time, it’ll also be difficult to bring out the material’s character. Every pottery and wooden creation is different, has imperfections, and boasts elements of casualness. Since I have learned traditional metalwork techniques before, I try to incorporate elements beyond my control into the production process. This has given birth to the “SIBORI series” and the “cross-section series”, which showcase my longing for the intrinsic imperfections and casualness of materials.
OB: Have you encountered any difficulties during your creation process?
J: In order to use metal in my creations without limiting my imagination, first and foremost I have to be able to turn my ideas into an actual object. During the production process, I have to pay equal attention to my emotional brain, and my engineer brain, which governs the use of technologies and machines. This is what makes the process at once difficult and interesting.
OB：你會怎樣形容你的藝術風格？
J：我大部分的作品擁有共通之處就是可以作「道具」之用。當中又可以分成有實用性的道具（生活道具）和非實用性的道具（藝術品）。但我亦會刻意地保留一種不明確定性，並嘗試遊走在兩者之間。例如器皿和膠紙座等物件便帶有很強的生活道具元素。至於MFC摺椅系列，除了可作日常使用的椅子，其中MFC hacking系列則是展示MFC的平台，以類似模型概念的形式製作。
去年製作的生火器（fire starter） 系列，是把昔日各種生火方法以現代風格重新呈現的一個系列。火是人類賴以為生的最重要工具之一。然而，在我看來，對於現代人來說，生火這個行為並不是為了生存，而是類近品茶、喝咖啡等，為了滿足個人嗜好的一種存在。生火器參照了原始人生火時使用的鑽木式生火用具，並用鋁以組裝方式製成，將火種、鑽板和裝附式鑽棒一拼收進箱中。生火需要技巧，技術越純熟，動作便會越形式化，猶如是在刷抹茶一樣。
此外，我就讀美術大學的時候開始製作的作品之中，樂器系列佔了重要一席位。民族樂器和民族音樂建立出各個發源地的世界觀，散發出一種不可撼動的力量，對我影響很大。在全球化的趨勢下，我想利用民族樂器來進行創作，建立一點點自己的世界觀。作品數量再多一點的時候，我打算以某種形式將之公諸於世。
OB: How would you describe your artistic style?
J: What is common among most of my creations is their function as a tool. They can further be divided into two groups, namely functional tools (lifestyle tools) and non-functional tools (artworks). But I will also deliberately leave some room for imagination by straddling the two. For instance, objects such as wares and tape dispensers carry considerably strong features of lifestyle tools. As for the MFC folding chair series, apart from being a chair for daily usage, MFC hacking, in particular, acts as a platform for demonstrating the MFC concept, and thus takes the form of a conceptual model.
The fire starter series from last year reimagines a variety of ways of making fire in the past with reference to contemporary style. Fire is one of the most important tools for humans’ survival. However, in my view, people nowadays do not think the act of creating fire serves the purpose of human survival but rather, of satisfying individuals’ hobbies, such as sampling tea or drinking coffee. The fire starter has drawn inspiration from the fire drilling tool used by primitive people and is made of aluminium components. It comes in the form of a box which includes kindling material, fire board, and attachable spindle. Making fire requires skills, and as a person becomes more skilled at it, the movements will become more standardized as well, which is similar to whisking matcha.
In addition, instruments occupy an important place among the creations I began working on during my years at the Art University. I have been heavily influenced by folk instruments and folk music, which form the worldview from the perspectives of their origins and radiate impregnable power. In the face of globalization, I would like to use folk instruments in my creations in order to build a bit of my own worldview. When more works are ready, I plan to make them public in a certain form.
OB：將來有沒有什麼計劃，或是想要創作的東西？
J：繼續製作樂器系列、MFC系列、partition series和器皿等可以用來建構空間的作品。我希望將來能舉辦一個可以展示整個空間的個人展覽。
OB: Do you have any future plans, or is there anything that you would like to create going forward?
J: I’ll continue to work on creations that can be used to construct a space, including my instrument series, MFC series, partition series and wares. I’m also hoping to hold a solo exhibition in which I can put on display a whole space.
