略歴

黒澤宏太は幼少期から何かをする時、常に他人の目を気にしてしまいます。自分は他と逸脱していないか、自分は正しいのか、間違っていないか、自分は優秀かそうではないか、自分は他人より幸福かと不安になってしまいます。
その経験から彼は、様々な媒体で他人の情報を目にすることが増えた現代に於いて「幸福の発信」という行為が特に盲信的な信奉のような宗教的な存在に感じました。
「美味しい食べ物を食べたこと」、「誰かと一緒に過ごしたこと」、「買い物をしたこと」個人の意思と関係なく自分が如何に幸福かを発信する中身のない空虚さをはらんだ社会の状況ではないかと考え、他人という社会から見える個人とは何か。個人から見える他人という社会とは何か。これらの人間らしい内と外であり双方向の関係にある「見る」という行為を通して「個人と社会の間にある余白」、「神聖で崇高で空虚」様々な物が結合し形成され、広がり続ける「デジタル社会の肖像」をテーマに自分の中の解釈も広げながら絵画を日々制作しています。



Ever since childhood, Kota Kurosawa has always been overly conscious of how others perceive him whenever he does something. He constantly worries—Am I deviating from the norm? Am I right or wrong? Am I competent or not? Am I happier than others? These questions stir anxiety within him.

From these experiences, he came to feel that in today’s world—where we are constantly exposed to information about others through various media—the act of “broadcasting happiness” has taken on an almost blindly devoted, religious quality.

Sharing moments such as “eating delicious food,” “spending time with someone,” or “shopping,” regardless of one’s true intentions, feels like an empty display of how happy one is. Kurosawa began to question whether this might reflect a society filled with hollow expressions of happiness, lacking genuine substance.

He explores the questions: What does an individual look like from the perspective of society (i.e., others)? And conversely, what does society look like through the eyes of an individual? Through the inherently human and bidirectional act of “seeing,” he contemplates the “in-between space” that exists between the individual and society—a space that is sacred, sublime, and yet empty.

With this in mind, Kurosawa continuously expands his own interpretations and creates paintings based on the theme of “Portraits of the Digital Society,” where various elements converge, form, and continue to spread.