This work is the sixth work in the "Layers of Color" series, and the 41st work in the series.
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).
This "1906" is one of the works that best reflects the characteristics of this series.
More than the other works, it is a layered structure of colors with various touches, without a prior plan, without the image of a figurative form.
I had no idea what kind of image I would get until I started scraping.
(It's exciting, like playing a game you've programmed without knowing how it's going to end.)
It's like playing a game where you don't know how it's going to end. This is the result of my deliberating on "How much can I cut down?
After the canvas is carefully prepared front and back, more than 20 layers of paint are applied 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".