The title of the series is a word coined by the artist using the Okinawan dialect word "chirudai" (sedentary). It represents a flower that exists only in the overlapping layers of acrylic paint. "Flower paintings. When I first started working on this project, it was difficult to find a coherent motivation for this "great sticky" subject. Although I had occasionally created works using plants as motifs and had confirmed that it was technically possible (see .....), I was unable to find a coherent motivation for this "great sticky subject. In the spring of 2006, I was reading a local newspaper in Okinawa, where I live, when I came across an article that read, "The chirdai (stagnation) is still there. I found the word "chirudai (stagnation)" in an article in a local newspaper in Okinawa, where I live. I was told that it is an Okinawan dialect word for "a state in which things seem to be stagnant. As soon as I understood the meaning of "chirudai," the title "chirudai + flower = chirudai bana (stagnant flower)" popped into my head as if I had glued it together with superglue, and I thought, "I can make a flower picture with this. I thought, "With this, I can create a painting of flowers. It could be said that it is an image of finding something beautiful and positive out of a negative state where things are stagnant. I felt right at home in this work. This work is also one of a series that I have been developing irregularly. More than 15 years have passed since its completion, but the work is still in good condition with no fading or discoloration. The panel used is double-sided on the front and back. The entire surface of the screen, sides, and reverse side are coated with ground paint. The same color as the screen background is also applied to the sides. The slit on the back of the work is a ventilation duct inside the panel, but pins and hooks can also be used to hang the panel during installation. The smooth machined matiere allows the work to be wiped clean with a dishcloth. The technique of creating the picture surface by layering and grinding acrylic paints is the same as that of the non-objective free painting "Layers of Color," and the matiere and coloration are consistent in the works in this series. The production process involves creating full-scale line drawings on tracing paper, similar to the large scale drawings of Japanese-style paintings. At the same time, we plan the layer composition of colors to be painted in parallel. Once the plan has been finalized to a certain extent both in terms of lines and colors, the line drawing on tracing paper is transferred onto the panel to begin the production of the main image. After the main surface is pre-papered by undercoating and scraping to break up the grain of the wood, it is layered with various touches using different types of brushes. More than 20 layers of paint are applied as a depiction, including both partial and full-surface solids. Then, while pouring water on the screen with a jug, grinding with water-resistant sandpaper is repeated until a finished screen is found. I use different grinding methods, including machine (belt sander) grinding, hand grinding, and a combination of the two. One of the characteristics of a painting, "multilayered magic," must be fully utilized. A scene that can only exist by paint on a support. I have found a method that meets my desire since I started to create in 1999, and I am pursuing the possibilities of painting.
