制作について ノート

December, 2020

When painting, I often have to decide whether to connect the objects smoothly or strangely. A smooth connection is like Mozart’s phrase, and his Etude was boring to me. But that doesn’t mean lively and subjective strokes always bring a good result to the painting. Sometimes they give fresh effect to it, but they can also get into a kind of stereotypical expression.

The elements in my painting such as lines, planes, blurs, and sharp edges prevent from seeing it clearly. What words do they bring out? For me, division, parallel, coexistence, holes and absence, etc. My work is like a temporary aggregation which contains these nuances.

To find the structure hidden under the surface and to trace it, I choose colors, shapes, movements, and thicknesses, while exploring the possibility of both boredom and nonsense. This is the current challenge for me.



たとえば、画面を一望することを妨げる線や塗りつぶし、ぼかし、盛り上がったエッジは、どんな言葉を引き出すだろうか。私にとっては分断、パラレル、共存、穴、欠落、etc. 画面上の要素の振る舞いはあるニュアンスに対応している。絵はその暫定的な集合体のようなものだ。


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。