Return" is a title often given to landscapes dotted with moving figures.
In this work, "3," three figures can be seen in the distance as they pull up from playing on the reef at low tide.
("1" and "2" were mountain landscapes with figures descending.)
The spreading beach and reef are based on the landscape image of Taketomi Island, one of the Yaeyama Islands in Okinawa Prefecture, Japan, from which the drawing was created.
It is based on a snapshot taken by my father during a family vacation, but it is only as a source.
From there, through his own sketches, it became a line drawing, which he made into a scene that could only exist on the painting by passing through a multilayered metier of acrylic paints applied and scraped.
The panels are made of plywood applied to both the front and back surfaces. The panel is covered with plywood on both sides, and the sides and back of the panel are coated with ground paint to increase the durability of the work.
The sides are also painted and scraped in the background color of the screen (light blue).
In the process of production, a full-size line drawing is created on a separate piece of tracing paper from the screen, like a large sketch of a Japanese-style painting, in which the arrangement of the motifs is mainly noted. Then, the layer composition of colors to be applied is planned. Once the plan has been finalized to a certain extent in terms of lines and colors, the line drawing on tracing paper is transferred onto 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, the painting is repeatedly ground with water-resistant sandpaper while spraying water on the surface 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 hooked during installation. The smooth machined matiere also allows the work to be wiped clean with a dishcloth.
The technique of creating a picture surface by layering and grinding acrylic paints has the same commonality as the "Layers of Color" series of non-objective free paintings. Therefore, the matiere and the sense of coloring are consistent in the works of 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.
I found this method in 1999, in line with my desire from the time I started to create. Since then, I have been pursuing the possibilities of painting through my own methods.
