This is the ninth film in the "Futari" series.
This irregular series of works, which began around 2007, uses various scenes to metaphorically express the "two" that is the basis of human relationships. In some works, "two" is metaphorically represented by symbolic structures that are not limited to the human figure.
In this work, "ver. 9," the "two" is a metaphysical entity.
Two stake-like objects stand on the desolate surface of some planet.
They are gold and silver, standing in pairs and leaning against each other, and in a sense they are like grave markers.
What this scene evokes and what kind of feelings it leads to is left up to each viewer.
Fujimoto presents his work as a "vehicle" that drives with your imagination, memories, and emotions.
The process of making the work is to create a full-scale line drawing on a separate piece of tracing paper, similar to a large sketch of a Japanese-style painting, which mainly describes the arrangement of the motifs. Then, the layer composition of colors to be applied is planned. Once the plan has been finalized to a certain extent, the line drawing on tracing paper is transferred to the panel, and the main painting process begins.
The panel used is double-sided. The panel is painted on the entire surface of the screen, sides and back. The same color as the background is applied to the sides of the panel.
After the screen is pre-painted by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint are applied as a depiction, including both partial and solid layers. Then, grinding with water-resistant sandpaper is repeated until a finished screen is found.
The slit on the back of the work is a ventilation duct inside the panel, but pins and hooks can also be hung during installation.
The smooth machined matiere allows the work to be wiped clean with a dishcloth or other cloth.
The layering and grinding of acrylic paint to create the picture surface (personally referred to as "layering") is no different from the non-objective free painting "Layers of Color," so the matiere and coloration are consistent in the works in this series.
One of the characteristics of the paintings, "multilayered magic," is to be fully utilized. A scene that can only exist by paint on a support.
Layering" is a method that has been in line with my desire since the time I started to create.
Since 1999, I have been pursuing the possibilities of painting with this method.
