This work is the 11th work of the "Stake in the Water" series that I started in 2001.
I finished "Stake in the Water 11" once, but I was not satisfied with the result, so I redid it and changed it to "11.5".
The series "Stake in the Water" (2001-2008) and "Stake" (2011-) were born from Fujimoto's attempt to see what would happen if he incorporated the horizontal structure of the landscape into his metier.
Basically, he expresses time and space in an epic way by contrasting the noisy, water-like depth of the color surface with the scattered stakes.
The series "Stakes in the Water" / "Stakes" has been particularly well received among Fujimoto's several series, and has been installed in the collections of various clients, as it is easy to fit into any style of space, public or private, Japanese or Western.
It is also significant for the artist that the experience of screen composition he gained in these series was very useful for him to work on landscape paintings with vertical and various other structures afterwards.
The panel used was double-sided. The entire surface, including the screen, sides, and back, is 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, 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.
Also, since the matière is smooth, it can be wiped clean with a dish towel.
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.
