小林源の作品は、古典絵画に見られる、近くで見ると粗い筆触が遠くで見るとリアルな像を結ぶという技法に学びつつ、その応用として植物や草むらといった複雑なモチーフを描くことを基盤としています。近年は、中心を持たない構成を志向し、無数の筆触が並列しながら、一つの物ではなく「出来事の風景」として現れるような方法を試みています。
観察し描くという営みには、外的な複雑さとともに、記憶や感覚、感情といった内的な層が入り込みます。とりわけ幼少期の原体験―土や草の匂い、雨音、季節の空気など―は、観察の中で呼び覚まされ、過去と現在が折り重なる場をつくり出します。ここで生まれる像は、現実そのものでも夢想そのものでもなく、両者が触れ合う緊張のなかで揺らぎつつ生成するのです。
その生成は直線的に収束することなく、非線形の広がりをもって展開します。現実の光景は純粋に与えられるのではなく、象徴的な記憶や感覚と交錯し、新たな意味を帯びて現れます。観察描写とは、この交錯の場に身を置き、現実性と象徴性が互いに侵入し合う出来事を可視化する試みです。時間と空間、記憶と現実、感覚と夢想が互いに結びつき、滲み合いながらひとつの像を結びます。
今回の展示では、このような視点を踏まえ、具体的な観察を主軸としつつも、空間、時間、そして記憶やイメージといった要素を層として織り込み、外的な世界と内的な世界が溶け合う場を提示します。


Gen Kobayashi’s work is grounded in techniques found in classical painting, where rough brushstrokes seen up close coalesce into a vivid image when viewed from a distance. Building on this method, he applies it to depict complex motifs such as plants and thickets. In recent years, he has sought compositions without a fixed center, experimenting with ways in which countless parallel brushstrokes emerge not as a single object but as a “landscape of events.”
The act of observing and painting incorporates not only external complexity but also internal layers of memory, sensation, and emotion. In particular, primal experiences from childhood—the smell of soil and grass, the sound of rain, the atmosphere of the seasons—are awakened during observation, creating a space where past and present overlap. The image that arises here is neither reality itself nor mere reverie, but something that wavers and comes into being within the tension where the two touch.
This becoming does not converge in a linear way but unfolds with a nonlinear expansiveness. The scene of reality is never given in a pure form; rather, it intersects with symbolic memories and sensations, appearing imbued with new meaning. Observational depiction is thus an attempt to inhabit this space of intersection and to render visible the event in which reality and symbolism mutually penetrate. Time and space, memory and reality, sensation and reverie—these elements intertwine and bleed into one another, forming a single image.
In this exhibition, based on such a perspective, I present works that, while grounded in concrete observation, also weave together layers of space, time, memory, and imagery, offering a place where the external world and the inner world dissolve into one another.