2005年に国際芸術センター青森秋のアーティスト・イン・レジデンス・プログラム「かわりゆく世界で」に参加した中西は、雲谷および国際芸術センター青森の森で撮影された100枚の写真をフィルムに焼き付けて展示する≪レイヤードローイング≫を制作しました。会期中も好評だったこの作品は、その後多くの美術館で発表され、好評を得ました。また2010年12月には新青森駅開業記念モニュメントコンペにて選出され、作品≪雪まち─Aomori Reflection≫を制作しました。 今回青森公立大学国際芸術センター青森では、これを記念して、中西信洋の個展を開催いたします。薄い境界の向こう側とこちら側、あるいは虚と実が反転しつづけるような世界を描き出す中西の作品は、映像、ドローイング、インスタレーションとさまざまな展開を見せます。可視化された時間が、現前化した運動が、作品として目の前に現れるのをご覧いただけることでしょう。本展では、2005年制作の≪レイヤードローイング≫をはじめ、≪雪まち―Aomori Reflection≫へと続く中西作品を一堂にご紹介します。

NAKANISHI Nobuhiro is one of the budding artist in Japan. Nakanishi had participated in our artist in residence program 2005/ autumn “transformation/ metamorphosis", and had produced “Layer Drawing” that became one of his outstanding work later. In December 2010, he won the "Shin-Aomori Station" memorial sculpture's competition and produced "Aomori Reflection".

--Seen from a distance, lined-up rows of transparent one-square-meter film sheets look like two long pipes extending in a bow-shape. It appears to be a minimal-art installation, but, as we approach it, we see each film depicting water-affluent and beautiful nature cut out and arranged endlessly at regular intervals. Walking along the two lines, one with clouds floating in the sky at sunrise and the other with trees in a woods wrapped in fog, viewers feel, while actually moving their bodies along, as if they were experiencing the moments when these photos were taken. In fact, as they move, clouds float, and trees come into sight one after another, making them feel tempted to go deep into the forest. They would feel humid morning air on the cheek, smell trees breathing, and even hear the sound of their own tread. the material feeling of the films is assimilated into the atmosphere, and the layers of thin sheets begin to tremble as if they themselves became a part of air.――

（MATAKE Makiko “Vaporizing Sight”, “Aomori Contemporary Art Centre ‘Artist in Residence Program 2005/ Autumn’ report”, Aomori Contemporary Art Centre, 2005, p.48.）

You can see the“Layer Drawing” again, here. By intermingling what is visible and invisible, or what we have seen and what we have not seen, he tries to put our perception off balance.