This is the Layers of Color series, the tenth film produced in 2019, and the 45th film in the series overall.
The technique of layering and grinding acrylic paint, and the color and matiere produced by it are common features of all Fujimoto's works, but the characteristic of this series is that he pursues paintings that are like pure visual phenomena, free from the structure of the object (motif).
There are two features unique to this "1910" series.
The use of color within the achromatic scale of white to black.
(Blue and silver are used as accents in some layers.)
The cutting work is decided by the chance of the dice.
(The screen is divided into 16 sections horizontally and vertically, and the sections to be cut are decided by dice, and the process is repeated. The process is repeated until a sufficient screen is created.)
(In this work, I rolled the dice a total of 18 times before completion.)
The introduction of coincidence is something that has been advocated and practiced in the art movements of the 20th century, such as the Dadaists in art and J. Cage in music.
Through his own method, Fujimoto has been practicing the idea that "actively utilizing indeterminacy in art and, by extension, in life" is not just a passing fad of the last century, but something important for the present and the future in the 2020s. In this context, this work "1910" is also one of the pieces that clearly describes the characteristics of the series.
After carefully preparing the canvas both front and back, he applies more than 20 layers of paint to the screen side. Then, while pouring water, he creates the screen by scraping it with water-resistant sandpaper.
The work is done on a temporary board, and after it is completed, it is washed and dried, and then stretched on a wooden frame, so there is no problem with hygiene in long-term storage. The screen is smooth and can be cleaned by wiping it with a cloth.
One of the characteristics of painting, "multilayered magic", is used to achieve a spectacle that exists only on the support. Painting as a physical crystal.
Since 1999, I have been pursuing the possibility of painting with the consistent technique and matière of "layering and polishing of acrylic paint".
