The Geometric Landscape series is a series I began working on in 2022, depicting landscapes I have actually seen using geometric forms. This work is based on Biwa Island, Hirakata Bay, and Nojima Island, not far from Kanazawahakkei Station in Yokohama, Kanagawa, Japan. Usually, a painting is the result of the intersection of the act of painting by the artist and the act of viewing the painting by the viewer. I believe that a painting comes to life as a painting only when it touches someone's eyes. When we think about the act of "seeing," we can think of it as having the quality of being performed when a person's consciousness is directed toward something. In other words, orientation is the first step in the act of seeing. While color, form, and space are the basic components of a painting, I also believe that what underpins these elements is the human mind. For the Geometric Landscape series, I do not try to paint something socially special, but rather I become conscious of the landscapes in my daily life, and when the desire to "paint this landscape" arises, I select that landscape as a motif. Where does the desire to "paint this landscape" come from? Perhaps the root of that desire is what I call the emotion or sentiment that arises when I come into contact with that landscape. So both the landscape of the outside world and the consciousness within the individual ego become the motif of the painting as one. Some may ask, "Is it necessary to use geometric forms? There is no absolute belief that geometric forms are necessary to answer this question. However, in order to create a work in which the outer world of landscape and mental representation overlap, it is not enough to simply paint the landscape as it appears to the eye, but rather to use geometry, a form that is real but does not exist in nature, to interlace the outer world and internal mental representation. I have been painting landscapes using geometrical forms. The Geometric Landscapes series is a series of works that I created by following the pictorial conventions of my feelings and emotions and the landscapes I used to see. The work is considered complete when I am able to feel something from the landscape on the canvas.
