This work is the 21st in the "Piles in the Water" series, which began in 2001. The characteristics of this work are the ultra-wide aspect ratio of the screen and the use of color: dark green color surfaces and bright light-like stakes. Since this series has a simple composition that is basically just a contrast of "pile placement" and "color surface," the specifications of the support, such as screen size and aspect ratio, are also very important factors. The aspect ratio of the support is developed without being concerned only with the standard ratio. In this context, we are also taking on the challenge of creating a super-horizontal support that gives the painting a sense of presence as an object, as in this work. The dark green color surface is a palette that produces a unique and calm atmosphere, and I used it for the first time in the series "Pile on Water 17. It had a very fresh feeling, and was sold with a good reaction at the exhibition where it was exhibited immediately after its completion. It is one of the "palettes that are unique to me" that I often use in subsequent series. The panels used are double-sided. The entire surface of the screen, sides, and reverse side are painted. The same color as the screen background is also applied to the sides. The screen is then painted with more than 20 layers of paint, both partial and solid, as a depiction. Then, grinding with water-resistant sandpaper is repeated until a finished screen is found. The slits on the back of the work are ventilation ducts within the panel, but pins and hooks can also be hooked during installation. The smooth machined matiere also allows the work to be wiped clean with a dishcloth. The layering and grinding of acrylic paint to create the picture surface (personally referred to as "layering") is no different from the non-objective free painting "Layers of Color," and the matiere and coloration are consistent in the works in this series. One of the characteristics of the paintings, "multilayered magic," is to be fully utilized. A scene that can only exist by paint on a support. I discovered "layering" in 1999, a method that has been in line with my desire since the time I started creating. Since then, I have been pursuing the possibilities of painting with this "layering" method.
