Nagoya　 Aichi Prefectural University of Fine Arts and Music

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Nagoya　

What is of most importance for expression? It is to be loyal to the requirement of oneself and to know clearly why one does it. It is neither to deviate from the subject, to produce things outside one’s concern, nor to paint only beautifully.
In that sense, I have not decided yet whether the three paintings of size 150 I painted this summer are my works.
I just stopped dangerous adventures.
One day after “an apple cut into four pieces” was brought into the museum, from six in the morning to eleven in the evening; I painted over one of the three paintings to produce a new work. It was in the category of DEEDS of COLORS, and not inconsistent with my original starting point. It was exactly the second coming of what had happened at Tor Road Gallery in Kobe in1983. I was exhausted. However, my energy would not be quenched.

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Fatigue from repetition. Frustration triggered by the absence of new development which excites a feeling of enthusiasm. Future prospective・・・.
In the summer of 2009, I tried three paintings of size 150. Yet, were they DEEDS (actions)? Were they not just events? In the meantime, I painted three pieces from the same angle, in other words, so that they were molded concretely to having nothing.
bread broken into two pieces
an apple cut into four pieces
a sweet potato cut into thirteen pieces
I had some hesitation about presentation, but it was not applicable there. There is a certain discomfort exhibiting works that I do not know how to judge, (or rather not recognize) to people.

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Nagoya　 The Gallery for Citizen of Nagoya

In July 2008, I did deeds of colors which was simply to repeat moving my arm in a wide circular pattern by making use of the arm’s length on a ply board 21 mm thick, cut in an irregular almost round shape with synthetic-resin paints such as acrylic, urethane and silicon. I did not intend to achieve this in a pre-meditated way, but also not by a “shotgun” approach either. I waited for “forms” or “worlds” controlled by nerves and sensations to emerge. What was of particular interest to me was how actions of making nothing could be molded into forms.

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Nagoya　 Aichi Prefectural University of Fine Arts and Music

Could I create an atmosphere in which one could feel clear air by a series of quite simple deeds? The aim was to achieve this in one breath without breaking concentration and sense of tension. I did not intend to deed, I was always in control and retained awareness of the whole deed. Not taking an overview, the end of deeds was the completion of my works. To fill a void of some years, I continued struggling with drawing but could not be free of impressions of the past deeds.

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Bangkok　

I coated etching paper with synthetic resin paint to resemble a sky then purposely ruined it, of which one was a painted sky, the other a daubed sky. There was a profound world of color created by medium colors made from a mixture of ultramarine blue, yellow and red (plus white). As a result, one could see the splendor of the colors, but they would not remain there.

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Sapporo　 art space 201, Sapporo

I made an exhibition space inside the gallery. One walked around the MUSEUM, opened the door, found a passageway 90 cm wide set spirally. At the end, one opened the door and reached the central space 180 cm square. Dozens of drawings and paintings were implanted on the wall and assimilated into it. “Works” on paper could not be separated from the wall surface. They were pictures, but had the image of walls. At the end of the exhibition, the walls were cut into pieces larger than the “works,” and sold to the visitors at an inexpensive price.

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Sapporo　 Museum of Contemporary of Art

I consciously tried to bring both of the two attributes of pigments to the fore simultaneously. They were color and material.
I displayed eighty bags of plaster and powdered pigments on the floor, and DEEDS of COLORS on the wall. The floor was divided into squares 30 cm on a side by corrugated boards 3 cm wide. They were similar to rice fields divided by footpaths. I poured colored plaster into the countless squares.

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Sapporo　 art space 201, Sapporo

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Sapporo　 Gallery Tapio

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