Blue light
よく晴れた冬の空は青く澄み渡る。太陽の光は本来無色なのだが大気中の水滴や塵などにあたって錯乱し、青の波長が強調される。晴れた日に天窓から入ってくる自然光は青いフィルターを通しているようなものだから、曇りの日と比べて作品の見え方がまた違ってくる。
青系統の色を使った作品に青い光の下でゆっくりと筆を入れる。
The sky of a fine winter day clears up into deep blue. The light from the sun is colorless. But it enhances blue hue due to the scattering of the wavelength of the sunlight through small particles such as water and dust in the atmosphere. The light from the skylight of my studio becomes bluish with the blue filter as well. And it changes the looks of the paintings from cloudy days.
Slowly adding dots on to a blue painting under the blue light.
Detail from an ongoing painting
青系統の色を使った作品に青い光の下でゆっくりと筆を入れる。
The sky of a fine winter day clears up into deep blue. The light from the sun is colorless. But it enhances blue hue due to the scattering of the wavelength of the sunlight through small particles such as water and dust in the atmosphere. The light from the skylight of my studio becomes bluish with the blue filter as well. And it changes the looks of the paintings from cloudy days.
Slowly adding dots on to a blue painting under the blue light.
Detail from an ongoing painting
Day and Night
白だけでなく、赤も光源によって彩度が大きく左右される。 自然光や蛍光灯の元ではおとなしくしていても、白熱灯の光をあてるとまるで浮き上がるように前に出てくる。
以前はいつ制作しても光の状態は一定にしておこうと思い、なるべく自然光の入らない状態で制作していた。 だが最近は光源が変わることによって作品の見え方が変わることも製作中の興味ある要素となってきている。
画廊では白熱灯のスポットライトの下で見ることが多いのだが、自然光の入る住居空間では昼と夜で作品の表情が変わるのも面白いと思う。
Not only white, but also red changes its intensity under the different light sources radically. It’s usually quieter with daylight or a fluorescent light, but it becomes vibrant under a incandescent light.
I used to keep same lighting condition without any natural light in my old studio, so that I can paint any time of a day without changing the looks of the painting. But lately I started to enjoy the different impressions from a same image in different time of a day, and it’s becoming a part of the process of painting to be aware of those changes.
When you look at paintings in a gallery space, usually they are lit by the spotlights and the way they look doesn't change. But when you look at a painting in a living space the lighting condition changes between day and night. I think that change is appealing.
--------- 
Under the skylight with daylight. --------- ---- Night time with incondescent light.
以前はいつ制作しても光の状態は一定にしておこうと思い、なるべく自然光の入らない状態で制作していた。 だが最近は光源が変わることによって作品の見え方が変わることも製作中の興味ある要素となってきている。
画廊では白熱灯のスポットライトの下で見ることが多いのだが、自然光の入る住居空間では昼と夜で作品の表情が変わるのも面白いと思う。
Not only white, but also red changes its intensity under the different light sources radically. It’s usually quieter with daylight or a fluorescent light, but it becomes vibrant under a incandescent light.
I used to keep same lighting condition without any natural light in my old studio, so that I can paint any time of a day without changing the looks of the painting. But lately I started to enjoy the different impressions from a same image in different time of a day, and it’s becoming a part of the process of painting to be aware of those changes.
When you look at paintings in a gallery space, usually they are lit by the spotlights and the way they look doesn't change. But when you look at a painting in a living space the lighting condition changes between day and night. I think that change is appealing.
--------- 
Under the skylight with daylight. --------- ---- Night time with incondescent light.
Lighting
白の多い画面に向かっていると、普段よりまして光の具合に敏感になるようだ。
夜に絵を描くことが多く蛍光灯と白熱電球の二種類の光源を併用しているのだが, 白熱電球だけにすると作品の見え方も変わるので作品の進み具合によって頻繁に光源を変えてみたりする。
最近は朝の光も気に入っていて、電気をつけず天窓からうっすらと入ってくる光の下で見ると同じ作品でもまったく違った表情をみつけだすことができ、新鮮な気持ちで筆が進む。
When I face a painting with lots of white, I seem to become more sensitive to the condition of lighting.
I often paint at night, and usually use both fluorescent and incandescent lamps together. But I change the lighting occasionally with this white painting because when you look at the painting under just one incandescent lamp, it changes the looks of the painting drastically.
Lately, I also prefer the morning light. Without turning any light on, looking at the painting that I worked on previous night under the skylight, I find a completely different expression from the same painting and start to paint with a refreshed feeling.
Detail from an ongoing painting
夜に絵を描くことが多く蛍光灯と白熱電球の二種類の光源を併用しているのだが, 白熱電球だけにすると作品の見え方も変わるので作品の進み具合によって頻繁に光源を変えてみたりする。
最近は朝の光も気に入っていて、電気をつけず天窓からうっすらと入ってくる光の下で見ると同じ作品でもまったく違った表情をみつけだすことができ、新鮮な気持ちで筆が進む。
When I face a painting with lots of white, I seem to become more sensitive to the condition of lighting.
I often paint at night, and usually use both fluorescent and incandescent lamps together. But I change the lighting occasionally with this white painting because when you look at the painting under just one incandescent lamp, it changes the looks of the painting drastically.
Lately, I also prefer the morning light. Without turning any light on, looking at the painting that I worked on previous night under the skylight, I find a completely different expression from the same painting and start to paint with a refreshed feeling.
Detail from an ongoing painting
Colors in Dreams
夢の中に出てくる色も、角膜の刺激とは直接関係のないもの。
無意識の世界で感じた色と、その夢を思い出しながら意識の世界にたぐり寄せた時に見える色とではどこか違うような気がする。
無意識の自分と、意識下の自分との間にもかなりのギャップがあるように。
Those colors you feel in your dreams don’t come from the stimulation of cornea directly either.
It looks as though there is a difference between the colors you feel in the subconscious world and the colors you see by remembering them from the dreams they appeared.
Just like there’s a gap between you who are in the subconscious world and you who are aware of your own consciousness.
無意識の世界で感じた色と、その夢を思い出しながら意識の世界にたぐり寄せた時に見える色とではどこか違うような気がする。
無意識の自分と、意識下の自分との間にもかなりのギャップがあるように。
Those colors you feel in your dreams don’t come from the stimulation of cornea directly either.
It looks as though there is a difference between the colors you feel in the subconscious world and the colors you see by remembering them from the dreams they appeared.
Just like there’s a gap between you who are in the subconscious world and you who are aware of your own consciousness.
Colors in Memories
物理的に感じる色もあるが、記憶に残っている色というのもある。
ぼくの育った桐生市は織物の街であった。
いつもどこからか機織りの音が聞こえていたような記憶がある。
家のすぐ裏には染め物工場があり、その敷地内に染め上がったばかりの綺麗な糸の束が干されていた。
鮮やかな色の糸束の輪が竹竿の間に渡され、その下には原色のトンネルが出来ていた。
そのトンネルを走り抜ける時に見上げた、陽の光が糸を通して輝く様子は今でも鮮明に覚えている。
Not only there are colors you feel physically, but also there are colors remain in your memories.
The town I grew up in Japan was famous for Kimono industry.
It seemed that I could hear the sound of weaving from elsewhere in the town all the time.
There was a dyeing factory right behind my house, and there were always freshly dyed bunches of threads being dried in their yard.
The threads were neatly placed between bamboo sticks and it created tunnels of the primary colors.
I still remember clearly the way sunlight came through the beautifully colored threads as I run through those tunnels.
Detail from "Globule"
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ぼくの育った桐生市は織物の街であった。
いつもどこからか機織りの音が聞こえていたような記憶がある。
家のすぐ裏には染め物工場があり、その敷地内に染め上がったばかりの綺麗な糸の束が干されていた。
鮮やかな色の糸束の輪が竹竿の間に渡され、その下には原色のトンネルが出来ていた。
そのトンネルを走り抜ける時に見上げた、陽の光が糸を通して輝く様子は今でも鮮明に覚えている。
Not only there are colors you feel physically, but also there are colors remain in your memories.
The town I grew up in Japan was famous for Kimono industry.
It seemed that I could hear the sound of weaving from elsewhere in the town all the time.
There was a dyeing factory right behind my house, and there were always freshly dyed bunches of threads being dried in their yard.
The threads were neatly placed between bamboo sticks and it created tunnels of the primary colors.
I still remember clearly the way sunlight came through the beautifully colored threads as I run through those tunnels.
Detail from "Globule"
