stakes 4　杭 4

After an interruption of several years, the irregular series "Stake in the Water" from 2001 to 2008 was redeveloped in 2011 with a new title "Stake".

My policy is the same as the previous series, not to be concerned with the unique color of the water surface as long as it can express fluidity and tranquility.
In addition, in this series, I added motifs other than piles and arranged them in relation to piles, challenging to construct "various landscapes of piles".

This work is the fourth work under the new title.
It features only one stake for the first time in a long time, and a silver monochrome color scheme that evokes reflections on the water surface.

In the process of making this work, I make a full-scale line drawing on a separate sheet of tracing paper, which mainly shows the arrangement of motifs such as stakes, like a large diagram of Japanese painting. Then I plan the color layers to be painted over.
Once the plan has been decided to some extent in terms of line and color, the line drawing on the tracing paper is transferred to 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.
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.