This work is the fourth in the Eternal Trio series, but also one of the Park Landscape series. Eternal Trio" is the title of a series of landscape works in which "three beings" are scattered throughout the park. The "Trio" in this work are three pieces of playground equipment like stools in the park. (In other works in the series, they are not necessarily people.) When I was working on this work from the late 2000s to the early 2010s, I often used parks as motifs for my landscape paintings. This work is based on an interview I conducted at a park in Tokyo. It is a small park that I happened to pass by while walking in the city when I was in Tokyo on other business. The three-colored billiard-like sphere-shaped playground equipment looked like a still-life painting by Morandi. It left a strong impression on me, so I photographed it and made a drawing based on it. There is no conclusion I want to draw from the work. Everything is left to the viewer's imagination. Not only this work, but Fujimoto's other works include landscapes depicting various scenes, and I would be happy if they function like a "vehicle" on which the viewer's own thoughts and inspirations can be carried. How to drive? It is up to the viewer to decide where he or she wants to go. I would be happy if you could take any excursion you like in your mind, transcending the various barriers that exist in time, space, and the real world. The work, like all of Fujimoto's works, is created using a technique consisting of layers of acrylic paint and grinding with sandpaper. It has an inherent smooth matiere and unique coloring. The plywood panels used for the support are double-sided, and the entire surface, including the sides, are coated with a ground coating to increase durability against changes in humidity. The back of the panel has a string so that pins or hooks can be attached to the panel for installation. The screen and sides can be wiped clean, making it easy to keep the work in good condition. The "multi-layered magic" characteristic of the painting should be fully utilized. A scene that can only exist by paint on a support. I found a technique in 1999 that met my needs, and since then I have been pursuing the possibilities of painting using this technique as a tool.
