平野甲賀氏曰く、今回、彼が残した膨大な作品を整理する中、とくに気づいたことは、漫画のタッチの新鮮さ、描き文字のすばらしさ。本展ではスライド、ライトテーブルで作品を映像としても展覧。ひとつのモチーフを繰り返し描いて別の背景と組み合わせていく独特の手法や、鉛筆画を何度も描き分け、コピーを重ねながら墨色を色濃くしていく、或いは描いたイラストを切り分け、別の絵の上にコラージュを重ねていくといった創作過程についても紹介。

 Kouga Hirano, in sorting through this vast collection in preparation for this exhibition, says that he was drawn especially to the liveliness of Kojimaʼs　caricatures and the brilliance of his hand-drawn lettering. For this exhibition, his works were displayed through slide projection and as images viewed on light boxes. Visitors were also introduced to his various unique creative processes, for example: how he drew a particular motif in repetition and combined them with different backgrounds; and how he created multiple pencil drawings and overlapped them to achieve a progressively deeper black color.


今回の展覧会の企画・監修者である平野公子氏が小島武氏の魅力について語る。69歳で亡くなるまで膨大な量の絵を描き続けたイラストレーター。但し、その作風はこれが小島武だという固まったモノはなく、多様性が拡がっている。風の流れの様に、点が線となり面となっていく「サヨナラシリーズ」は、劇作家の別役実氏の本に使われていた。表紙では鮮やかな、これが小島武の“赤”という色が使われている。またPC以前の時代に鉛筆とコピー用紙を多用したのも小島武の特徴的技法。1992年から雑誌『エスクァイヤ』に連載された「武蔵野アマルコルド」にはこの手法が用いられたカットが使われている。また、沢木耕太郎氏の小説は、装丁：平野甲賀、イラスト：小島武による本が多数存在。その中で1点だけ飛行機が飛び立つ後ろ姿が使われた原画が見つかっておらず、是非とも見つけ出したいと語る。是非、過去にない規模の作品を目の当たりにする事ができる展覧会を見に来て、小島武の魅力に触れて欲しい、と締め括った。

Kimiko Hirano, who was in charge of the planning and supervision of this exhibition, spoke about what makes Takeshi Kojima’s works so appealing. Mr. Kojima was an illustrator who continued to create a vast volume of works straight up until his death at the age of 69, and yet he did not have one definitive style but rather produced works of great diversity. Kojima’s “Sayonara” series, in which, like the flow of the wind, points become lines, and lines become surfaces, were used to illustrate a book by playwright Minoru Betsuyaku. The cover features a brilliant red of the kind only Kojima could create. Takeshi Kojima is also remarkable for his unique production method in which, in the days before computers, he made abundant use of pencils and copy paper. Illustrations made by that method were used in “Musashino Amarcord,” a serialized feature of the Japanese edition of "Esquire" magazine that commenced in 1992. Kojima also provided the illustrations for numerous novels by Kotaro Sawaki, with book design performed by Kouga Hirano. Among them, there is one featuring an illustration by Mr. Kojima of an airplane taking off, viewed from the rear. It is the only illustration for which the original drawing has yet to be located, and Ms. Hirano expressed her strong hope that this work will be found. She closed with the hope that many people will come to see Takeshi Kojima’s works firsthand at this exhibition of unprecedented scale, to get to know what makes his works so appealing.

展覧会紹介

Exhibition Introduction

小島武展　夢ひとつ

イラストレーター

Illustrator

満州生まれ。北九州に引き上げ後は、高校まで博多で暮らす。映画三昧の日々であった。上京後、桑沢デザイン研究所に通う。音楽、演劇、広告、出版と多彩にイラストレ－ションとグラフィックで関わる。62年からフリーのイラストレーターとして活躍し、93年には第24回講談社出版文化賞(さしえ賞)を受賞。主な仕事に、アートシアター新宿文化／小室等／井上陽水／高田渡／『Number』表紙／『話の特集』／『ニューミュージック・マガジン』／『小説新潮』／など多数。

Born in Manchuria. After being repatriated to Kitakyushu, Kojima lived in Hakata until high school, where he became immersed in cinema. He moved to Tokyo, where he attended Kuwasawa Design School. His illustrations and graphics cover a wide variety of genres, such as music, the stage, advertising, and publishing. From 1962, Kojima worked as a freelance illustrator, and in 1993 he was presented with the 24th Kodansha Publishing Culture Award in the Illustration category. His major works include projects with Art Theatre Shinjuku Bunka, Hitoshi Komuro, Yosui Inoue, and Wataru Takada, and his art has featured on the cover of "Number" magazine, as well as in "Hanashi no Tokushu," "New Music Magazine," "Shosetsu Shincho." 

小島武展　夢ひとつ

小島武展　夢ひとつ

会場写真

関連項目

小島武展 夢ひとつ

小島武展 夢ひとつ

会場写真

関連項目

小島武展　夢ひとつ

小島武展　夢ひとつ