In the series White Rose, photographic printing and oil paint are applied to photographic paper, allowing the image to emerge not merely as a flat surface, but as a layered field in which time and material intertwine. Through the delicate interaction between print and paint, objects and space seem to gently merge into one another, creating a distinctive sense of texture. The white rose, the central motif of this work, refers to the White Rose resistance movement of the Second World War. Uhira was deeply struck by the fact that its members risked their lives to produce and distribute anti-war leaflets across Germany. Since then, Uhira has continued to explore how the motif of the white rose may be approached within his own practice. This work quietly reflects on the memory of the White Rose as it drifts between inheritance and oblivion. In Uhira’s works, paper and ink are not simply supports or materials; they exist as essential bodies that constitute the artwork itself. For him, the image is a site of material richness, where ink seeps into the fibres of the paper and paint gradually builds up on the surface. This also reflects his ongoing effort to reconsider the inherent physicality of the human body in an era dominated by digital environments and visual-centered perspectives.

連作《White Rose》では、印画紙をベースに写真印刷と油彩を施すことで、イメージが単なる平面ではなく、複層的に時間と物質が絡み合う場として立ち現れる。印刷と油彩の繊細な交わりによって、事物と空間が相互に浸透し合うような、独自の質感が生まれている。本作のモチーフである白い薔薇は、第2次世界大戦中の抵抗運動「白薔薇」に由来する。宇平は、彼らが命懸けで反戦の印刷物(ビラ)を制作し、各地に配布した事実に深い衝撃を受け、白い薔薇のモチーフを自身の制作で扱う方法を模索し続けてきた。本作は、白薔薇という記憶が、継承と忘却のはざまで揺らぐ様を、密やかに映し出す。宇平の制作において、紙やインクは単なる支持体や素材ではなく、作品を成す重要な肉体として存在している。インクが紙の繊維に浸透する滲み、絵具が表面に積層する動きなど、彼にとってイメージという場は、物質としての豊穣さに満ちている。それは、デジタル環境の優勢や視覚偏重な状況のなかで、本来の身体性について再考しようとする彼の姿勢の反映でもある。