Using Japanese paper and iwa-enogu (mineral pigments), he expresses a sense of life and dynamism beyond the painting. He creates a base with acrylic paint on watercolor paper, glues the washi paper, and applies the colors with iwa-enogu. After a period of relying on the strength of black, he has been using acrylic paints with a lot of water, like watercolor paints, to create a screen using the "nature" created by the "accidental" difference in drying time of placing, pouring, and smearing the paints. I have added the "inevitable" to the "inevitable" by drawing in lines with a pen and creating an accumulation of lines. In order to express myself more strongly and deeply, I experimented with a variety of matiere, and arrived at Japanese paper and glue. By applying glue, Japanese paper shows a new expression. There are many different types and thicknesses of washi, and by applying glue many times, the paper becomes very hard and strong. The unique tints and different particle sizes of iwa-enogu, which are unique to iwa-enogu, are also attractive for their wide range of expression. The artist carefully interacts with the paints, boiling the glue and loosening the paints with his fingers. It is also an exciting time to see how the paint looks from the front by peering at the hidden surface on the reverse side of the washi, or to have the paint cover the hemp threads of rakusui-gami. I want to express the "back," "behind" and "beyond" of what is visible on the surface. In order to create a deeper world, I needed to make the Japanese paper three-dimensional. I feel a sense of life created in the screen and realize that I am also alive and being kept alive. I want to be the first witness to a world I have not yet seen. I would be happy if you could see the work created through this transition.
