After an interruption of several years, the irregular series "Stakes in the Water" from 2001 to 2008 was redeveloped in 2011 with a new title, "Stakes.
As in the previous series, my policy is to avoid using colors that are unique to the surface of the water as long as they can express fluidity and tranquility.
In addition, in this series, I added motifs other than piles and placed them in relation to the piles to challenge the construction of "various pile landscapes.
This is the eighth work under the new title.
The feature compared to other works in the series is the use of color. I am trying to create an image like a negative solarization of a photograph by contrasting metallic colors with brighter colors.
In the process of creating the work, I make a full-scale line drawing on a separate sheet of tracing paper that mainly shows the placement of motifs such as stakes, like a large diagram of a Japanese painting. Then plan the color layers to be applied.
Once the plan has been decided to some extent, both in terms of lines and colors, the line drawing on the tracing paper is transferred onto the panel, and the main painting begins.
The panels used are double-sided. The entire surface of the screen, sides, and back are painted. The same color as the screen background 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 used for installation.
In addition, the smooth machined matiere can be wiped clean with a dish towel.
The layering and grinding of acrylic paints to create a picture plane (which I personally call "layering") This is the same as the "Layers of Color" series of non-objective free paintings, so the matière and the sense of color 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.
I discovered "layering" in 1999, a method that has been in line with my desires since I started my career.
Since then, I have been pursuing the possibilities of painting with this "layering" method.
