The four works submitted are all titled "Obscura," which is taken from the Latin for "camera obscura," a device used to make a hole in a box to capture information from the outside. The title is taken from the Latin word "camera obscura," which means "darkroom," and refers to a device that makes a hole in a box to capture information from the outside. I use the term in the title because of the similarity between this and my production process. In the specific process of my own works, I cut out photographs, prepare a dark space, and make a draft of a virtual landscape image taken there, which I then turn into a painting. I consider Japanese-style painting to be "heavy" 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 works, 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 am interested in the change in perception of things that occurs when their true identity is revealed, and I have come to aim to create such a screen. I am trying to create a multi-layered work in which these complex processes can be traced from the surface of the painting. In this work, I envision a Japanese garden-like space.
