吉田明弘私人展览

RESILIENCE

2020.06

for Akihiro Yoshida

Spatial and graphic design of photographer Akihiro Yoshida’s private exhibition.
The exhibition design followed the theme of the exhibition, which was titled “RESILIENCE” from the elasticity and
recoil portrayed in the series of high-speed photography work capturing the aspect of water balloons at the moment of collision.
The logo was designed as though pressure applied from both ends of the text were compressing the center.
Next, a paper with high elasticity was chosen for the catalog cover and forced into the case to create a perpetual state of resilience inside the case, which resulted in producing a uniquely arched spine.
Because the exhibited works were high-resolution prints on acrylic panels, the pieces were displayed by supporting them with flexible and rebounding thin metal plates rather than by fixing them onto a surface such as framing, hanging from a picture rail, or wall mounting.
For works displayed on walls, a delicate balance was sought by adjusting the flex according to the weight of the pieces—using stainless steel plates 0.2 mm thick for smaller works, 0.3 mm thick for relatively larger works, and so on.
Further, works placed on exhibition stands were made to hover on one side by using 0.08 mm panels,
to cast shadows of water balloons and increase the sense of buoyancy.
When viewers move in front of each work, consequent vibrations and disturbances in the air make the pieces sway.
The designs were produced with the aim to enhance the essence of the works.

吉田明弘私人展览的空间和平面设计。
展览设计遵循了展览的主题，从弹性和弹性出发，以“韧性”为主题。
在一系列高速摄影作品中描绘的后座力，捕捉到了水球在碰撞瞬间的面貌。
徽标的设计就像是从文本的两端施加的压力在压缩中心。
接下来，我们选择了一种弹性很高的纸作为目录封面，并将其强行放入盒子中，以在盒子内创造出永久的弹性状态，从而产生了独特的拱形脊椎。
由于展出的作品是丙烯酸面板上的高分辨率版画，这些作品是通过用柔性和反弹的薄金属板支撑它们来展示的，而不是通过将它们固定在表面上，如相框、挂在画轨上或墙上安装。
对于展示在墙上的作品，根据作品的重量调整挠性，寻求微妙的平衡--对于较小的作品使用0.2毫米厚的不锈钢板，对于相对较大的作品使用0.3毫米厚的不锈钢板，以此类推。
此外，摆放在展台上的作品用0.08毫米的嵌板使作品悬停在一侧，
投射水球的影子，增加浮力感。
当观众移动到每件作品的前面时，随之而来的振动和空气中的干扰会使作品摇摆。
这些设计的目的是为了增强作品的精髓。