Landscape

Toshio Miyaoka's painting method is unique. On the back of each canvas there is a small postage stamp-sized photo cutout of the motif of the painting. He paints the clippings from magazines in their original small size, and then copies the clippings upside down onto the canvas. The upside-down, postage-stamp-sized photographs do not reveal the details of what is being depicted. In other words, Miyaoka eliminates all preconceived notions of what he is painting, and stoically focuses only on depicting the form, color, and light of the object.

When the work is finished, he returns it to its original position to complete it.

In his paintings, Miyaoka attempts to transform all the scenery and events in the world into "nameless, anonymous entities" by "using them as motifs for painting upside down," and then outputting them as a result. This act makes us realize that everything we usually perceive has an "existence" such as its name, meaning, reason for existence, and social position, and that we are sometimes bound by it because we know (or are made to remember) it. We are sometimes bound by it because we know it (or have been made to remember it).

In every era, there are social phenomena, events, and people who are popular according to that era, and we have unknowingly been imbued with common sense and standards of value according to the era in which we live, and we judge all things according to these standards. Miyaoka's paintings, which are produced by taking this common sense once and for all as flat and meaningless, create a somewhat disturbing sense of discomfort, and we are sure to notice it. I believe this phenomenon is because the paintings are not painted in a world of value criteria such as "this is ____. You might say that it feels like an abstract painting, even though it is a figurative one that we know. In addition, his improvisational brush strokes give a rhythm on the screen, and one can feel the heartbeat of the artist's brushstrokes. Other than the limited colors and shapes of the motifs, only the brush strokes dance freely, creating a rhythm that resembles that of an abstract painting.

The photo that the work was based on is attached to the back