This is the fourth work in the "Futari" series. In the "Futari" series, the "scene of two beings" is expressed metaphorically (in some works, the "two beings" are not human beings but symbolic structures). (In some works, the "two beings" are sometimes represented by symbolic structures that are not human.) In this work, "ver. 4," the "two" are silhouetted against a hedge in the back right corner of a garden lined with vivid colors. They appear to be a man and a woman. The garden in the foreground is also vividly colored, but it is not intended to be merely beautiful. It also contains a sense of "pain" and "bittersweetness. The two seem to be fading faintly, and the garden seems to be blotting out the weight of the "two's" accumulated feelings. I would like to leave it up to the viewer to decide what to recall from this scene and what kind of feelings to connect it with. The artist presents his work as a "vehicle" to drive with your imagination, memories, and emotions. The artist will create a full-size line drawing on tracing paper, which will be separated from the screen. Then, layer composition of colors to be applied is planned. Once the plan has been finalized to some extent in terms of both line and color, the line drawing on tracing paper is transferred onto the panel and the main painting process begins. After the preliminary preparation by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint, including partial and solid, are applied to the screen as a descriptive layer. Then, the painting is repeatedly ground with water-resistant sandpaper while being sprayed with water, until a finished screen is found. The panels used are applied on both the front and back sides. Ground paint is applied to the screen, sides, back and all surfaces. The same color as the screen background is also applied to the sides. The smooth matiere is made by grinding, so the work can be wiped clean with a dishcloth or the like. The technique of creating the picture surface by layering and grinding acrylic paints is the same as that of the non-objective free painting "Layers of Color. In the works in this series, the matiere and coloration are consistent. One of the characteristics of painting, "multilayered magic," is to be fully utilized. A scene that can only exist by paint on a support. I pursue the possibilities of painting in a manner consistent with my desire.