制作について ノート

February, 2016

I’m fascinated with things that have opposite two-sides like “far / near” “hard / soft” “interesting / frightening.” When I find something like that in my daily life, it becomes a starting point of a new work. However, I don’t intend to represent it. It’s just a trigger for putting colors on a canvas and deciding composition.
When I do some action on the canvas, it tells me what I should do the next. This may be something like a dialogue with the progressing work. My paintings are mostly weaved up by this process.
Also, relationship between the two-sided matters and a feature of the material, oil paint, is important. As it dries very slowly, I can easily blend a form with another form, and the first stroke of the day with the last one of the day. This is like mixing space and time. Oil colors seem to accept contradiction, and this feature is suitable for expressing the essentials of the two-sided matters. Working on this media, every time I’m trying to let my paintings go as far away as possible from the starting points.


乾きの遅い油絵具は都合がいい。一日の最初と最後の手とを、あるいはものとまわりとを混ぜてぐっと絡められる。それは言いかえれば、絵の中の時間や空間をほぐすこと。たくさんのものが生まれて少しずつ失われていく、現実の本質=〈 〉に触れるための私なりの方法だ。描くことは、それをどこまで遠くへ行かせてやれるだろうか。


November, 2014

The paintings I make start from “the sense of something being provisionally presented as one” – landscape, constellation, history, living creatures, for instance.
Lots of touches of colors, which contain both the conscious behavior and the unconscious happenings, weave up a painting. The component, on some view points, looks like constellation and history.


 眼前の画面そのものをほどいていくように描くこと。私的な体感=〈 〉から出発して、違う感触のふたを開けることができるか。いつでも自分の骨組みをかえて、目をつぶらないと選ばぬ色、つくらないようなかたちで制作中の絵に対しリアクションを重ねていけるか、作品はそういう試みの結果だ。