亡くなっていく物の尊厳と儚さと敬意を人の命とリンクさせている彼女の作品を本当に知るには彼女が音楽家として活動していた頃までさかのぼりたいと思う。日本がバブル景気に沸き、わが世の春を謳歌している1980年代、"M"は開発著しい電子オルガンのリーダー講師、演奏家として楽器メーカーに勤めていた。アナログ音源からデジタル化が進み次第に便利とひきかえに奏者独特の呼吸感、感情のうねりを表現することから、デジタル楽器を操作することにバランスが傾き始める。
In order to understand her works well, in which dignity, transiency and respect of vanishing materials are linked to human lives, I think we should go back to the time when she was working as a musician. In the 1980’s, when everybody was enjoying the height of Japan’s bubble economy, M was working for a musical instrument manufacturer as a musician and teaching leader for electronic organs which were significantly being developed back then. As analog sound sources were digitalized, M became fascinated to play more digital instruments since they are better express with players’ unique breathing and groundswell of sentiment in exchange for convenience.
