I believe the impression of landscape can be attributed to the impression of our memory through the imagery of relation between humans and nature. As a wake sign, I depict landscape as a place where people can exert Idea as free and simple as possible.
On the other hand, it’s necessary to present how reality effects painting. Thus I see my works as history through vernacular painting in order to tackle that issue, although I acknowledge a pursuit of public awareness is liable to nationalism.
I prefer to depict a particular place where natural and artificial elements are mixed like in a garden, plants with crushed stone, abandoned outhouses, and so on. The relation between the natural and artificial elements varies according to a location: coexistence and dominance, rebirth and destruction, forgiveness and denial. And it gives me a complicated impression.
As an ideologic phrase, ‘Landscape arises from an awareness of nature. I give color and material to figures distilled from landscape, and then locate them on canvas. When the figures conduce to a perception experience through its visual effect, post-landscape comes into existence.’
My works are sort of catch-and-release of landscape or perception.
A tactic and meaning of expression is ever-expanding now, but still painting has an aspect of being special due to an exquisite distance sense between it and its viewer, I assume. Meeting paintings is meaningful for me in many ways. Among them, paintings of medium to later period of Edo era and beginning of Meiji era are also my subject of research. There’s a lot to learn from them. The first one is to explore expression style of living-scape, the other is an approach to how Japanese painting should be oriented against the West. Each painter’s process is significant due to assuming it’s not our traditional issue but the matter learned from the past. And it has affected my theme.
My figurative view goes as following: the material against or with the figure, the neutral shape keeping an indefinite state which I call neither-both, and consciousness for outline as a trigger of the prehension object.
After elaborating the figure, color and composition as if translating landscape, I create counterpoints on canvas through pieces of concrete and abstract. By bringing the incorporate ‘style’ -a problem which is always wrapped around it- into my painting-way very consciously, I explore the way that my style might be Creole.