speed of changes
春になり木の芽がふきはじめ、クロッカスの青、レンギョウの黄色、木瓜の薄桃色、スミレの青紫色など、景色の中の色彩が日に日に増えてくるのを見ていると、あらためて冬の景色というのはモノトーンだったんだなとつくづく思う。季節ごとの景色にそれぞれの美しさがあると思うのだが、やはり春の色の豊かさとその変化の速さは心地よい刺激である。そして、そんな環境の変化はパレットの色にも影響してくる。 長い冬をとおして制作を続けてきた作品たちも、変化の速度が増してくるようである。
With all the new colors like fresh green leaves, blue crocuses, yellow forsythias, pink quinces, and purple violets, you realize how monotone it was during a winter. Even though each season has it’s own beauty, the richness of colors and it’s fleeting nature of spring gives you a pleasant stimulation. And such a change of the environment must affect the colors on a pallet as well. It might increase the speed of changes on those paintings I have been working through a long winter.
With all the new colors like fresh green leaves, blue crocuses, yellow forsythias, pink quinces, and purple violets, you realize how monotone it was during a winter. Even though each season has it’s own beauty, the richness of colors and it’s fleeting nature of spring gives you a pleasant stimulation. And such a change of the environment must affect the colors on a pallet as well. It might increase the speed of changes on those paintings I have been working through a long winter.
Shades of black
黒も積極的に色として扱いたい。科学的な定義として黒とは光をすべて吸収した状態をいうが、絵画の中ではブラックホールのような黒い空間は存在せず、隣り合わせた絵の具の色との関係でじつに豊かな表情をもってくる。実際に絵の具でもアイボリーブラック、マースブラック、ブルーブラック、クロマティックブラックなどとその種類は多い。他の色に黒を混ぜて彩度を落してみたりするとその調子の幅は無限に広がる。
The scientific definition of black is a property of a color that absorbs all the frequencies of lights, and it's not supposed to reflect any lights and colors. But such a condition like a black hole doesn't exist on a surface of a painting. It still remains as one of the colors, and it brings extremely rich nuances with other colors put next to it. Even oil color tubes come in various shades of black such as Ivory Black, Mars Black, Blue Black, Chromatic Black etc. And it can widen the range of tones tremendously by mixing with other colors. I acknowlidge black as one of the active ingridients on my palett.
The scientific definition of black is a property of a color that absorbs all the frequencies of lights, and it's not supposed to reflect any lights and colors. But such a condition like a black hole doesn't exist on a surface of a painting. It still remains as one of the colors, and it brings extremely rich nuances with other colors put next to it. Even oil color tubes come in various shades of black such as Ivory Black, Mars Black, Blue Black, Chromatic Black etc. And it can widen the range of tones tremendously by mixing with other colors. I acknowlidge black as one of the active ingridients on my palett.
additions and losses
筆で絵の具を画面に置くということは要素の付加である。しかし要素が増えることによって失われるものもでてくる。 一筆が加えられる前にあった画面の状態は、画面が変化することにより失われる。 一筆加えることが画面を良い方向に変化させるという保証はまったくない。 作品が終わるまで、付加と損失の交渉は続く。
Every brush mark is an addition to a painting. But by adding more brush marks, the painting will lose something. When you add even just one brush mark, the condition of the painting before the action would be lost. And there is no guarantee that newer states of the painting are better than previous conditions. You just have to keep negotiating between addition and losses until the end of the painting.
Every brush mark is an addition to a painting. But by adding more brush marks, the painting will lose something. When you add even just one brush mark, the condition of the painting before the action would be lost. And there is no guarantee that newer states of the painting are better than previous conditions. You just have to keep negotiating between addition and losses until the end of the painting.
More colors
このところひとつの作品に使う点の色が増えてきている。今までは微妙に違う大きさの点が集まってできる濃淡の調子を見ながら作品を進めることが多かったのだが、最近は異なった色調の点を隣り合わせて置くことによってできる効果も積極的に取り入れるようになった。調子という要素の他に色相という要素が増え、画面に寄ったり引いたりしながら眺める時間がまた増えているようだ。
Lately, more colors have been used for the dots on each painting. In the past, I have been working with tone created by slightly different sizes of dots in the same color. But I am consciously using different groups of colors next to each other in the works I'm working right now. It adds more elements of hue and color balance on top of tonal vocabulary, and it seems to take more time to look at the paintings moving closer and pulling back.
Lately, more colors have been used for the dots on each painting. In the past, I have been working with tone created by slightly different sizes of dots in the same color. But I am consciously using different groups of colors next to each other in the works I'm working right now. It adds more elements of hue and color balance on top of tonal vocabulary, and it seems to take more time to look at the paintings moving closer and pulling back.
Tentacles of imaginations
深海の研究が進むにつれ、いままでほとんど知られていなかった太陽の光の届かない世界の様子が少しずつ明らかになってくる。太陽の光が無いのだから光合成によるエネルギーもなく生命の存在すら疑問視されていたのが、海底火山の近辺には硫化水素から栄養をとる独特の生態系があり、多くの生物が新しく発見されている。そんな光の無い世界なのにそこに生息する生き物が実に様々な形態をもっているのが興味深い。
遠い天体での出来事にしてもそうなのだが、どうしてこうも日常からかけ離れた世界に惹かれるのだろう。実際に見ることの出来る映像は限られているが、そこから勝手に想像を膨らませるのがとても面白い。想像の世界の中でイメージの触手を伸ばしていくような感覚。絵を描いている以上、視覚はたしかに大切な感覚なのだが、視覚以外の感覚も使って形を探していきたいのかもしれない。
As the studies for deep-sea progresses, the world where the sunlight doesn’t reach becomes more visible under the spotlights. The life forms in deep ocean floors were once considered very scarce due to the lack of energy sources. But recent studies are revealing a new ecosystem that uses hydrogen sulfide from hydrothermal vents as a main source of energy, and it’s very rich in many different kinds of life forms. It’s fascinating to see so many different shapes of life in a lightless world.
The world is so far away from our day-to-day life. The information you can get about the world is very limited. But you could always utilize imaginations to explore such a remote world on your own, using tentacles of imagination to feel the way through. It seems to fit the approach of my painting to feel the shapes as I move through a landscape of the imaginary worlds.
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遠い天体での出来事にしてもそうなのだが、どうしてこうも日常からかけ離れた世界に惹かれるのだろう。実際に見ることの出来る映像は限られているが、そこから勝手に想像を膨らませるのがとても面白い。想像の世界の中でイメージの触手を伸ばしていくような感覚。絵を描いている以上、視覚はたしかに大切な感覚なのだが、視覚以外の感覚も使って形を探していきたいのかもしれない。
As the studies for deep-sea progresses, the world where the sunlight doesn’t reach becomes more visible under the spotlights. The life forms in deep ocean floors were once considered very scarce due to the lack of energy sources. But recent studies are revealing a new ecosystem that uses hydrogen sulfide from hydrothermal vents as a main source of energy, and it’s very rich in many different kinds of life forms. It’s fascinating to see so many different shapes of life in a lightless world.
The world is so far away from our day-to-day life. The information you can get about the world is very limited. But you could always utilize imaginations to explore such a remote world on your own, using tentacles of imagination to feel the way through. It seems to fit the approach of my painting to feel the shapes as I move through a landscape of the imaginary worlds.
