From the "Layers of Color" series, which he began in 2015, he has been pursuing paintings that are purely visual phenomena, where he has freed himself from the structure of figurative motifs. This work is the fifth in the series. One of the features of this work is the extra-horizontal support, which is a size I have often challenged myself with. In terms of production, it allows for a unique spatial composition, and in terms of installation, it is an interesting module that can be easily matched to both public and private spaces. With no clear theme, message, motif, or plan, each step of painting or shaving is judged in terms of the next step, and eventually a screen (including its orientation) is determined as the final product. The panel is applied on both the front and back sides, and the back and sides are also painted. Acrylic paints are applied directly to the screen, but after the priming and scraping to destroy the grain of the wood, more than 20 layers of paint, including partial and solid, are applied as a descriptive layer. Then, the painting is ground with water-resistant sandpaper while applying water to the surface. In most cases, this "paint over and over, then grind process" is done in one term, but in some cases, I may repeat this term while monitoring the screen until I am satisfied with the results. This work, "1505," is an example of such work. The sides of the screen are finished in black, and the slit on the back side is a duct that also serves as ventilation inside the panel, but pins and hooks can also be hooked up for installation. The screen is machined so that it is smooth and can be wiped clean with a dish towel. One of the characteristics of the painting, "multilayered magic," is to be fully utilized. A scene that can only exist by paint on a support. In 1999, I found a way to do this that met my desire since the time I started to create. Since then, I have been pursuing the possibilities of painting with a consistent technique and matiere of "layering and grinding acrylic paint.
