井桁裕子 IGETA Hiroko


《加速する私たち 舞踏家・高橋理通子の肖像》2012年 桐塑、石塑、油彩 130×70×180cm  撮影:齊藤哲也
Accelerating Us Humans : portrait of Ritsuko Takahashi / Butoh Dancer, 2012, Paulownia powder and glue, stone powder clay, oil paint, 130×70×180cm  Photo by SAITO Tetsuya


IGETA Hiroko

1967年、東京生まれ 東京に在住、活動。





Born in Tokyo, Japan, 1967.  Lives and works in Tokyo.


I majored in Graphic Design at an art university, while also attending a doll-making school so as to study ball-jointed dolls. I primarily had interest in anatomy; thus, I aspired to have a doll that could act as a template for the human body. After that period, I continued to produce dolls via asking the creators I encountered to be the models. In recent years, I have created small-scale ceramic works, seeking a slightly more abstract form than found in my former works.

The initial portrait work I created was a self-portrait doll in 1996.
During my youth, from my teens to twenties, I was unable to properly recognize my own body; thus, I put myself in a difficult situation. I felt that I could overcome this and pull myself together if I created another body of mine, one outside of my own. Hence, I took my body measurements and drew the design of a doll reduced in size to 120 centimeters in height.

In the process of producing that doll, I was amazed to discover that I, like any other person, have about the same skeletal structure, muscles and tendons as the ones illustrated in a human-body anatomical chart. This feeling was like paying a visit to a town I had only known on a map for the first time. This allowed me to feel that I am not some strange existence but have a similar exquisite mechanism beneath my skin as all the beautiful creatures in nature.

But then, when I exhibited my completed works, I discovered a new problem. That is, a work showing a young nude woman is readily received as involving a sexual connotation.

Thus, I thought about having my dolls wear clothes, but this time I realized that I could not figure out what kind of clothes they should wear. The reason behind my not knowing what the dolls that represented me should wear was rooted in the fact that I did not know how to exist in society.

The reason why I still refer to my works as “dolls” is because dolls are extraterritorial existences whose human rights are not taken into account. In my view, empathizing with lifeless objects and treating humans as “things” are the same as the relationship between “a person and a doll.”

I occasionally give thought to such matters.                                 
                                                                                            Translated by NANPEI Taeko 


Please refer to the artist’s website/social media pages for new updates.





《片脚で立つ森田かずよの肖像》2015年 桐塑、石塑、羊毛、油彩 100×100×75cm
Portrait of Kazuyo Morita Standing on One Leg, 2015, Paulownia powder and glue, stone powder cⅼay, wool, oil paint, 100×100×75cm



《ウラノス・ロータス・ウラニウム 篠原勝之の肖像》(未完成)2019年 桐塑、石塑 80×90×60cm        撮影:萩原美寛
Uranus Lotus Uranium : Portrait of Katsuyuki Shinohara (incomplete)   2019   Paulownia powder and glue, stone powder clay, 80×90×60cm Photo by HAGIWARA Mikan



《清らかな雨を降らせるために》2020年 陶土 19×37×20cm
Let the Pure Rain Fall   2019  Ceramic clay  19×37×20cm