This is an early landscape work. The title is taken from the ancient Indian scriptures, the Rig Veda. Time flows, life is born, exists, and disappears. This work is an attempt to express an abstract sense of the world as a landscape painting with a figurative motif. This work is the result of feedback from the two series. This work is also an original version of "Thermoscape," which was exhibited at the 2006 VOCA exhibition (The Ueno Royal Museum). Reference: Installation view of "Waterscape": https://artsticker.app/works/41117 The production process involves creating a full-size line drawing, similar to a large scale sketch of a Japanese-style painting, on tracing paper that is separate from the screen. The artist then plans the layered color composition, choosing colors that he feels are good from a painterly point of view, without being concerned with the motif's specific colors. Once the plan has been decided to a certain extent in terms of both line and color, the line drawing on tracing paper is transferred onto the panel, and the main painting process begins. The panel used is double-sided. The panel is painted on the entire surface of the screen, sides and back. The same color as the background is applied to the sides of the panel. After the screen is pre-painted by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint, including partial and solid, are applied as a descriptive layer. Then, he repeats the process of grinding with water-resistant sandpaper while applying water until he finds the finished screen. Fujimoto's paintings have been produced using the consistent technique of "layering and grinding acrylic paints" since 1999. (I call it "Layering"). Layering" is a tool to make full use of one of the characteristics of painting, "multi-layered magic", and he uses this technique as a tool to pursue the possibilities of painting.
