I use the motif of commonplace sunlight filtering through trees in my daily life and work with the water-based woodblock print technique, a traditional printmaking method. This time, I combined woodblock printing and dyeing on cloth with suncolor and bainter on a fabric called cotton georgette to create a work that expresses the unique tenderness of the combination of the softness of wood and the warmth of hand with the fabric. Unlike the stability of Japanese paper, the thickness and unevenness of the cloth and fabric allow for different coloring. The shades of color within a single color printed on the paper are further shaded, giving the washi and the cloth different charms. The light printed as a print also materializes into a form that can be repeated, and appears before the viewer's eyes as the fading of an irretrievable moment, as if it is layered with multiple layers of time. As much as the natural woodblocks, then the textile fibers and water-based paints form an important part of the work, the paints also dye the patterns of my own skin. Besides, I, who am sinking, gradually revived with nature, pure. In the days of the past, I am trying to leave something behind from my own hands. The light falling in the room at dusk, the dreamy shadows of trees outside the car window, and the free-flowing clouds further away. On the land no one asks about during the journey, the green leaves that have caught the drizzle are shining faintly. All these sights are already not objective sights, but the scrutinizing presence of my mind in the wide world of epics.
