"how to go" is a series that emerged from the development of his landscape paintings and is characterized by a low horizon composition. The artist has produced five paintings in this irregular series since 2007. The lower border of the image is dotted with a scene of living creatures, including people, but since the majority of the image is above the horizon, the image as a whole appears to be a single-colored blob. The work coexists with both image-like elements linked to the memories of individual viewers and material elements as objects of color. The title is a reference to a song by the artist's favorite rock band. The atmosphere of the song overlapped with the idea of this series and served as a motivational song. This work, the first in the series, is a "landscape that looks like it could be anywhere, but it is not anywhere" spread out under a blue sky. At the solo exhibition, we received comments from each viewer linking the work to various places in his or her own memory, such as "It looks like a landscape I saw in Hokkaido" or "It looks like a landscape I saw in Italy. Fujimoto wants his works to function as "vehicles of the senses. Although the paintings remain still on the wall as flat objects, he would be happy if viewers could experience a little trip out of their daily lives through looking at the works. The production method, coloring, and matiere of the work are the same as those of other Fujimoto works. After priming the plywood, the work is created by laminating and grinding acrylic paints. As for the production process, a full-size line drawing is created on tracing paper. Then, after planning the layer composition of colors to be painted over, the line drawing is transferred onto the primed plywood panel to start the main production. The panels used are double-sided on the front and back sides. The same color as the screen background is also applied to the sides. After the preliminary preparation by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint are applied to the screen as a depiction, including partial and solid layers, and then ground with water-resistant sandpaper while spraying water. After repeated scraping and monitoring of the screen, a screen that appears to be complete emerges. The screen and sides of the work have a smooth matte finish, so the work can be wiped clean with a dish towel. The backside of the work is also painted with acrylic paint after paneling to increase the durability of the work. One of the characteristics of painting is to make full use of "multilayered magic. A scene that can only exist with paint on a support. I found a way to do this in 1999, in line with my desire since the time I started to create. Since then, I have been pursuing the possibilities of painting with a consistent technique and matiere of "layering and grinding acrylic paint.
