レクサス富山 トークイベント　「偶然を祝福できる自由」写真家・日本画家・和菓子職人

最終セッションでは、写真家・テラウチマサトさん、日本画家・平井千香子さん、そして和菓子職人の引網康博さんと登壇。

実は5回目の登壇となるこの最終セッションまでにいろいろハプニングを経験し、もはや台本通りにキレイに進めるよりも、壇上でありのままをさらしていただく（自分もさらす）ほうがいい、と覚悟を決めた回でした。

そしたらば、もう平井さんがありのまますぎて正直すぎて…。予定調和をことごとく破壊していくアナーキーぶりに、焦りを通り越してもはやファンに（笑）　恐竜の骨に花を咲かせる画風そのものの衝撃でした。

その画風の魅力を解説してくださるテラウチさんもさすがアーチストで、プロの仕事とは予定されているものをキレイに撮ることではない、と。絶景をなぞるのではなく、偶然の瞬間、誰も予想もしなかった瞬間ををつかむ敏感さと経験値こそが大事なのだと。

（まさにこのトークイベントがそれ）

大人気の和菓子職人・引網さんは、40gほどの「消えもの」が持つ豊かさを語りました。菓子は味や形だけで完結しない。器や空間、誰と、どの瞬間に、どんな名で差し出されるのか。総合的に価値が決まる、と。だからこそ「誰かを想って、その場に最善を尽くす」というおもてなしの姿勢が豊かさの核であると示されました。

この3人に率直に語っていただいたことの意味は大きかった。理想とされる形をなぞるのではなく、瞬間、瞬間を自分に正直に、対象と向き合って生きる。そこからしか生まれえないものこそがアートである、という考え方を態度そのもので示していただきました。

Final session with photographer Masato Terauchi, Nihonga painter Chikako Hirai, and wagashi master Yasuhiro Hikiami.

After several on-stage hiccups, by this fifth session we scrapped the script and chose honesty. Hirai’s radical candor smashed every tidy plan—an anarchic force as startling as her paintings where flowers bloom on dinosaur bones. Terauchi reminded us that a professional doesn’t capture what’s prearranged: not tracing postcard vistas, but seizing the unrepeatable moment—sensitivity plus mileage.

Hikiami spoke of the richness of a 40g “vanishing” sweet: taste and form aren’t the whole. Value emerges from vessel and space, from whom you share it with, the moment, even the name. Hence omotenashi—doing one’s best for someone, here and now—is the core of richness.

These three showed that art isn’t about copying ideal forms, but facing the subject honestly, moment by moment. (This talk did exactly that.)

上の写真は和菓子職人、引網さん。下の写真、登壇者とレクサス富山社長・品川さんです。みながLの字を作っていますが、LexusのL。

At the closing session in Toyama, photographer Masato Terauchi, Nihonga painter Chikako Hirai, and wagashi artisan Yasuhiro Hikiami explored what lies beyond expression: not the object alone, but the context—place, relationships, and time—that gives it life.

Hikiami spoke to the richness of an “ephemeral 40 grams.” A sweet is never just taste and form; the vessel, the space, the company, the exact moment, even the name bestowed—together compose the experience. Tradition, he argued, is not conservatism but the sediment of accumulated challenges. Hence the Japanese core of hospitality: designing for the other’s context with restraint and care.

Terauchi defined professional vision as “seeing the unseen.” Rather than duplicating grand vistas, he surfaces the atmospheres of the everyday and seizes chance with practiced intuition. He urged a shift from “the purchase as peak value” to images that deepen with memory over time—extending photography’s role from decoration to social instrument (as in projects reframing the image of the Jukai forest).

Hirai channels the energy of a site through live painting, letting film, music, books, and travel condense into the immediacy of “here and now.” For collaboration, she prefers a shared theme answered autonomously by each creator—an ethic of parity that resonates with the spirit of local luxury.

The discussion converged on what to keep and what to release: keep the will within tradition that affirms people and emboldens risk; release the defensive mindset that constrains. More than technique, the task is to design relationships across people, place, and time—and to leave room for improvisation.

From these threads, Local Luxury emerges on four axes:

1. Relationship—to whom, and with what story, value is given.

2. Time—value that matures through use, recall, and retelling.

3. Improvisation—welcoming the unplannable to generate the singular.

4. Tactility—materials, sound, weight, temperature you can truly feel.

Implementation follows naturally: wagashi as one-off, commissioned experiences linking vessel, space, and travel; photography as a living archive of a region’s and product’s tactile details; painting that fixes the breath of a site in real time. Mobility can weave ateliers, nature, cuisine, and lodging into a roving itinerary where each maker responds autonomously.

“Local” does not mean small or static. It is proximity with care, patience in relationships, and the freedom to celebrate serendipity. The joy it yields lingers longer than imported gloss. Doing one’s best for someone—and receiving with equal attentiveness—quietly reshapes the landscape. That practice, reclaimed, is local luxury.