This is the ninth film in the Layers of Color series, the 2019 production, and the 44th 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).
The aim of this work is "red painting".
Regardless of whether it is figurative or non-figurative, the color "red" has a unique sensuality and appeal, and I have used this color as the main subject to create paintings of free phenomena unique to this series.
In this work, I don't use the default screen as I introduced in [1613], [1614] and [1615], but start layering free and improvisational touches from the first layer. As usual, I scraped off the layers that I had finished layering, but in the process, I went back and layered a few more layers, which I completed by scraping them off again.
In some cases, the artist repeats the term "paint → scrape" multiple times to achieve completion, and this work is an example of this.
After carefully preparing the canvas both front and back, I apply more than 20 layers of paint to the screen side. Then, while pouring water, I scrape the canvas 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".
