This work is the thirty-sixth in the "Stake in the Water" series, which I began in 2001.
Despite the simple compositional style, I had fun developing the work while incorporating various challenges, including composition, use of color, and the size of the support.
This work is composed of the contrast between "many small piles, regularly arranged" and "a hot but quiet color surface". It was created with the intention of constructing a screen that was different from the previous works in the series.
In addition to this work, I have also used the 30cm square screen in various other works of mine because it fits easily with the general housing conditions in Japan.
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 are applied as a depiction, both partial and solid. 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.
