From the Layers of Color series, which I began in 2015, I pursue paintings that are purely visual phenomena, where I am freed from the structure of figurative motifs.
This work is the fourth in the same series.
Starting from a point where there is no clear theme, message, motif, or plan, as each process of painting or scraping is completed, the next process is judged, and eventually the screen (including its orientation) that is considered complete is determined.
After prepainting and scraping to destroy the grain of the wood, more than 20 layers of paint, both partial and solid, are applied as a depiction. Then, I grind the surface with water-resistant sandpaper while spraying water.
This "process of painting and grinding" is often one term, but sometimes I repeat this term while monitoring the screen until I am satisfied. This work "1504" is such a work.
The side of the screen is finished in black, and the slit on the back is a duct for ventilation inside the panel, but it can also be used to hook pins and hooks for installation. The screen is machined so that it is smooth and can be wiped clean with a dish towel.
To take advantage of one of the characteristics of painting, "multi-layered magic". A scene that can only exist by paint on a support. The painting as a physical crystal.
In 1999, I found a way to do this that was in line with my desires from the time I started my career.
Since then, I have been pursuing the possibility of painting with the consistent technique and matière of "layering and grinding acrylic paint".
