This work is the fourth in the "Stake in the Water" series that began in 2001. The "Stakes in the Water" series (2001-2008) and the "Stakes" series (2011-) were inspired by Fujimoto's experimentation to see what would happen if he incorporated the horizontal structure of the landscape into his metier. Basically, time and space are expressed epically through the contrast between the noisy, water-surface-like depth of the colored surfaces and the scattered piles. Since the style is simple, consisting only of colored surfaces and piles, I used a variety of colors and compositions to create different variations. The contrast between the noisy, watery depth of the colored surfaces and the scattered stakes creates an epic expression. The panels used are double-sided, front and back. The entire surface of the screen, sides, and reverse side are painted. The same color as the background is also applied to the sides. After the screen was pre-painted by undercoating and scraping to destroy the grain of the wood, more than 20 layers of paint, including partial and solid, were applied as a descriptive layer. Then, grinding with water-resistant sandpaper is repeated until a finished screen is found. The slits on the back of the work are ventilation ducts within 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 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," and 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. I discovered "layering" in 1999, a method that has been in line with my desire since the time I started creating. Since then, I have been pursuing the possibilities of painting with this "layering" method.
