Sunflower

Concept

I aim to create an expression in which "color explaining form" and "form explaining color" are equally assertive. I hope that the combination of gradual color changes and rhythmic color surface changes will evoke a variety of sensations, such as fun, fear, and melancholy. I believe that the essence of stimulating people's senses is the gradual and gradual change of color gradations and the small and large hard-edged arrangement of color surfaces. In addition to these gradations and color surface changes, I believe that the stimulation of people's senses will be amplified and conveyed more clearly by giving the work the minimum necessary form to evoke the inorganic man-made structures of the city, the earth, mountains, trees, and other natural surroundings, and people's daily lives. I want the shapes I give to my works to be consistent with our common impressions of form, and to provide explanations that will satisfy people's senses. Urban buildings are inorganic man-made constructs, but many people work and live in these inorganic man-made vessels. And those man-made constructions are filled with people's joys and sorrows, hopes and regrets, passions and excitements. The people who come and go in the city also come and go with a wide variety of thoughts and plans. I am attracted to these urban landscapes, which may appear inorganic on the outside but are in fact filled with a wide variety of thoughts and feelings. These are the everyday urban landscapes that I have repeatedly come into contact with until I retired from my place of employment. In these landscapes, which vary according to season and region, I sense the endless history of evolution since before man built civilization, and the overwhelming power of nature to regenerate itself over an unimaginably long period of time, despite being destroyed by human activity. I am fascinated by natural landscapes that have been dominated by man, nature that has been asked to cooperate with man, and nature that has an unredeemable power that sometimes threatens man. The satoyama in the Hokusetsu region where I was born and raised, the smell of terraced rice paddy fields, country roads with sunlight filtering through the trees, the sound of rivers swirling after a heavy downpour. Perhaps it is the everyday nature that I felt with my whole body when I was a child that is the starting point of my work. In my watercolor paintings, I would like to work on the expression that is typical of watercolor painting, using plenty of water as if I were dyeing cotton paper. In oil painting, on the other hand, I would like to aim for a strong and resistant expression using plenty of paint.