This is the seventh film in the Layers of Color series, the 2019 production, and the 42nd film in the series overall.
The technique of layering and grinding acrylic paint, and the color and matiere produced by it are common features of all Fujimoto's works, but the characteristic of this series is that he pursues paintings that are like pure visual phenomena, free from the structure of the object (motif).
This "1907" is one of the works in the series lineup, and at the same time, it served as a study model for a certain commission work.
I started with this small piece to create a vivid, organic image based on white and red, and then developed it into a larger commission work.
It was also a way to experiment with color and layering, but of course "1907" is a freestanding painting in its own right.
This is also the first time in a long time that I have used a plywood panel as a support for this work.
The plywood panel, which is laminated on both sides, is fully prepainted, and more than 20 layers of paint are applied to the screen and sides as a depiction.
After painting, I monitor the screen while scraping it with water-resistant sandpaper while sprinkling water on it to find a state that I think is complete.
There is a slit on the back of the work for ventilation inside the panel, but it can be installed on the wall by hanging a pin or hook there.
Although the screen is noisy and tactile, the matière is smooth and can be wiped with a cloth.
Using the "multilayered magic" that is one of the characteristics of painting, he achieves a spectacle that exists only on a support made of paint. Painting as a physical crystal.
Since 1999, I have been pursuing the possibility of painting with the consistent technique and matière of "layering and polishing of acrylic paint".
