This is the eleventh film in the Futari series.
In this irregular series, which I started around 2007, I use various scenes to metaphorically represent the "two" who are the basis of human relationships. In some works, "Futari" is metaphorically represented by symbolic structures that are not limited to the human figure.
In this work "ver.5", it is the "two" of an aged couple.
Two people watching the setting sun in the shades of a daydream. Long years and accumulated feelings.
Fujimoto's own question, "What would it be like to be in a place where you can slowly savor "time" itself? This is also Fujimoto's own question.
It is up to the viewer to decide what to recall from this scene and what thoughts to connect with it.
Fujimoto presents his work as a "vehicle" that drives with your imagination, memories, and emotions.
In the process of creation, a full-size line drawing is made on a tracing paper, which mainly describes the arrangement of motifs like a large diagram of Japanese painting. Then, I plan the layered composition of colors to be painted over. Once the plan has been decided to some extent, both in terms of lines and colors, the line drawing on the tracing paper is transferred onto the panel, and the main painting begins.
The panel used is double-sided, front and back. The entire surface of the screen, sides and back are painted. The same color as the background of the screen is painted on the sides. On the screen, 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, grinding with water-resistant sandpaper while spraying water is repeated until the finished screen is found.
The slit on the back of the work is a ventilation duct in the panel, but pins and hooks can also be hooked when installing. In addition, the work can be wiped clean with a dish towel, etc., because of the smooth matiere made by cutting.
The layering and grinding of acrylic paint to create a picture plane (which I personally refer to as "layering") ) is the same as in the non-objective free painting "Layers of Color", so the matiere and the color feeling are consistent in the works of this series.
To take advantage of one of the characteristics of painting, "multilayered magic". A scene that can only exist through paint on a support. In 1999, I found a way of "layering" which is in line with my desire from the time I started my career. Since then, I have been pursuing the possibility of painting with this "layering" method.
