The title of the series "Obscura" is derived from the Latin word "camera obscura," which means "darkroom," and refers to a device that captures information from the outside. The specific process is as follows: first, I take a photograph, print it, cut it out, and compose it three-dimensionally in the darkroom like an ikebana flower arrangement. The resulting virtual landscape image is then transformed into a painting based on the re-photographed information. I see Japanese painting as having "weight" in terms of historical background and materials, and "wet" in terms of subject matter, in the sense of nostalgia and personal narrative. In contrast, in his own work, he emphasizes "lightness" and "dryness. For example, he uses acrylic as well as mineral pigments to show the materials in a relative way, and he also distances himself from the motifs, viewing them as single parts of the work. Through elements such as "lightness" and "dryness," I aim to create a "broken" picture plane. A "tear" is an element that should be hidden, such as the zipper of a stuffed Ultraman still being visible. I became interested in the change in perception of things that occurs when their true identities are revealed, and I began to aim to create such a screen. I am planning to create a multi-layered work in which these complex processes can be traced from the surface of the painting.
