"how to go" series is a series of low horizon landscapes, five of which were produced between 2007 and 2010. The lower edge of the painting shows a scene dotted with creatures, but the entire painting appears to be a single color block. The work is a coexistence of the image element, which is connected to the viewer's individual memory, and the material element, which is an object of color. The title is a reference to a song by the artist's favorite rock band. The title is a reference to a song by one of the artist's favorite rock bands, because the atmosphere of the song was very much in line with the concept of this series. This painting, the fourth in the series, is characterized by its nearly monochrome colors and the contrast between the thick tree on the left, which is vivid, and the blurred landscape at the lower edge of the painting. Compared to the other works in the series, this work has a nuance that is difficult to describe as either light or dark. Fujimoto hopes that his works, not limited to landscapes, will function as "vehicles of the senses. Although the paintings remain still on the wall as flat objects, the artist is happy if viewers experience a little trip out of their daily lives after looking at the works. The production method, coloring, and matiere of the work are the same as those of other Fujimoto works. After priming the plywood, the work is created by laminating and grinding acrylic paints. As for the production process, a full-size line drawing is created on tracing paper. Then, after planning the layer composition of colors to be painted over, the line drawing is transferred onto the primed plywood panel to start the main production. The panels used are double-sided on the front and back sides. The same color as the screen background is also applied to the sides. After the preliminary preparation by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint are applied to the screen as a depiction, including partial and solid layers, and then ground with water-resistant sandpaper while spraying water. After repeated scraping and monitoring of the screen, a screen that looks finished appears. The screen and sides of the work have a smooth matte finish, so the work can be wiped clean with a dish towel. The backside of the work is also painted with acrylic paint after paneling to increase the durability of the work. One of the characteristics of painting is to make full use of "multilayered magic. A scene that can only exist by means of paint on a support. I found a way to do this in 1999, in line with my desire since the time I started to create. Since then, I have been pursuing the possibilities of painting with the consistent technique and matiere of "layering and grinding acrylic paint.
