This work is a singular point in Fujimoto's development of figurative motifs. The year 2009 was a time of introspection for Fujimoto as a painter and as a human being. I recall that this work's screen, which looks as if it is built into the body, may have been the product of my own vector of consciousness, which was directed inward. The dark and graphic taste of this work is not often seen in his other works, but it is certainly a part of his own mind. Although I did not develop the work as an organ-like image representation itself, in the sense of expressing organic and chaotic images, it is connected to the "Layers of Color" series of non-figurative paintings that I will begin in 2015. As with other Fujimoto works, the technique is the same: priming of plywood, followed by layering and grinding of acrylic paints. As for the production process, a full-scale line drawing is created on tracing paper that is separate from the screen. I then plan the layered composition of colors to be painted over, choosing colors that I feel are good from a painterly point of view, without necessarily sticking to the motif's inherent colors. Once the plan has been decided to some extent, both in terms of line and color, the line drawing on tracing paper is transferred onto the panel, and the main painting process begins. On the screen, after the prep work by underpainting and scraping to destroy the grain of the wood, more than 20 layers of paint are applied as a depiction, including partial and solid, and then the painting is ground with water-resistant sandpaper while being sprayed with water. The screen that can be considered complete appears through repetition of grinding and monitoring the screen. The panel used is double-sided on the front and back. The screen, sides, and back are all coated with ground paint, and the finish on the sides is black. The screen and sides have a smooth matte finish, so the work can be wiped clean with a dishcloth. The back of the work is also painted with acrylic paint after the panel is attached to increase the durability of the work. String for display is already attached. Using "multilayered magic," one of the characteristics of painting, the artist creates a scene that exists only on the support. Since 1999, he has been pursuing the possibilities of painting with the consistent technique and matiere of "layering and polishing acrylic paints.
