From the Layers of Color series, which I began in 2015, I pursue paintings that are purely visual phenomena, where I am freed from the structure of figurative motifs.
This work is the fifth in 2016, and the fourteenth in the series in total.
From a point where there is no clear theme, message, motif, or plan, every time one process of painting or scraping is completed, the next process is judged, and eventually the screen that is considered complete (including its orientation) is determined.
There are two features of this work.
The first is that the initial layer layering is more detailed than ever before.
The other is that the gap between the solid color layers and the fine undulating layers buried in the solid color layers becomes stronger.
After the canvas is carefully prepped with a ground coat on both the front and back, more than 20 layers of paint are applied to the screen side as a depiction of the canvas, including both partial and solid colors. Then, I grind the canvas with water-resistant sandpaper while spraying water on it.
The work is done on a temporary board, and after completion, it is cleaned and dried before being stretched on a wooden frame, so there are no problems in terms of production or hygiene, and the quality of the matiere characteristics and colors can be maintained.
The screen is smooth and can be wiped clean with a dish towel.
To take advantage of one of the characteristics of painting, "multi-layered magic".
A scene that can only exist by paint on its support. Painting as a physical crystal.
In 1999, I found a way to do this that was in line with my desires from the time I started my career.
Since then
I have been pursuing the possibility of painting with the consistent technique and matiere of "lamination and grinding of acrylic paint".