山田俊行は毎朝5時、まだ世界が静まり返る早朝から制作を始めます。最も体調が冴えわたり、精神が安定し、全身にエネルギーが満ちるこの時間帯こそが、彼にとって創作の黄金のひとときです。 読み終えた新聞やチラシを手で団子状に丸め、つなぎ合わせて独自の支持体を作り出す。そしてその上に、筆跡をあえて残しながらアクリル絵の具を極端に盛り上げます。その行為は、液晶画面に氾濫する平滑で情報過多なデジタル社会への無言の抵抗のようにも見えます。 完成した作品は、ゴツゴツとした量感と強いマチエールを持つ彫刻的要素と、色彩のレイヤーやタッチが生み出すイリュージョニスティックな絵画的要素とが拮抗し合い、強烈なインパクトと緊張感を放っています。 山田にとって制作は、社会の中で長く抱えてきた生きづらさを乗り越え、自らの感覚を信じて人間らしさを取り戻すための行為でもあります。

Toshiyuki Yamada begins his work every morning at 5 a.m., in the stillness of dawn. This is the golden hour of creation for him—the time when his body is at its sharpest, his mind is calm, and his entire being is filled with energy. He crumples old newspapers and advertising flyers into ball-like forms by hand, binding them together to create his own unique supports. Upon these surfaces, he applies acrylic paint in extremely thick layers, deliberately leaving visible brushstrokes. This act can be seen as a silent resistance against the flatness and overwhelming flood of images in our digital, screen-dominated society. The finished works embody a tension between sculptural elements—rugged, solid masses with strong impasto—and painterly elements—illusory layers of color and gestural strokes. They radiate a powerful impact and a sense of tension, engaging the viewer with both visual and almost tactile intensity. For Yamada, creating art is also an act of reclaiming his humanity—an effort to trust his own sensitivities and overcome the sense of alienation and difficulty he has long experienced in society.