Polymerization #25
Year: 2025
Material/Technique: Acrylic, Cotton
Size: 53 × 45.5 × 2 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
USD 837
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
About the Work
- Year
- 2025
- Material/Technique
- Acrylic, Cotton
- Size
- 53 × 45.5 × 2 cm
- Edition
- Unique
- Signed
- Included
- Frame
- Negotiations
- Work Certificate
- Included
- Distributor of artworks
- HORIGUCHI Shingo
- Ship-from Area
- Tokyo
- Days Until Dispatch
- About 2 Weeks
- Category
- Painting
- Style
- Abstract, Conceptual, Japanese Painting / Japanese Style
Work Details
I was born in 1993, and by the time I became aware of my surroundings, there was already a Macintosh computer in my home. I used it to draw pictures. I remember feeling dissatisfied in kindergarten, when painting with real paints, wondering why I couldn’t undo mistakes the way I could on a computer. Since then, digital devices have always been close to me. Because of this, the sensation of erasing actions, trying repeatedly, and selecting only successful outcomes has become deeply ingrained in me. Even in real life, I tend to simulate actions before carrying them out, and it feels unnatural not to do so. In fact, while writing this text, I have used the Control + Z shortcut dozens of times.
How should we live with the fact that we can simulate almost everything? From my savings ten years from now to the itinerary of a future trip, I feel unable to avoid simulating every aspect of my surroundings. It is as if I am researching spoilers for my own life. Perhaps this is a curse cast by the tech industry.
I want to make positive use of this curse through painting. The ability to simulate the production process on a computer should not be used merely to avoid failure or increase efficiency. Instead, I want to inscribe into painting the sensation of time being rewound by Control + Z. I want to entangle forward-moving time and backward-moving time within a single pictorial surface. When the layered images simulated on a computer are subjected to the compression process of painting, the areas without pigment are no longer blank spaces; they become sites where the action of “erasure” has occurred. Painting seems capable of accommodating such operations. I want to generate images that can only be made by someone who has internalized Control + Z.
When I stop painting and look at my finished work, there are increasing moments when I myself can no longer immediately understand the process by which the form came into being. I feel that such paintings may be the ones in which my intention has truly been activated—but I’m not entirely sure.
Statement for the solo exhibition “Rewound Westerlies”, 2025
View in a Room
How to Buy
This artwork is available for purchase.
USD 837
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
Painter
There is a slight discrepancy between what the right and left eyes perceive. People see the world by continuously synthesizing these two fields of vision in the mind. I attempt to reconstruct this perceptual instability through the structure of painting. To render a perception that is constantly in flux is to engage in creating something that cannot be fully completed from the outset. I call this attitude—both in making paintings and in understanding art as it has been practiced—“Binocularism,” and I identify myself with it. Born in 1993, Kyoto, Japan 2016 B.F.A., Department of Japanese Painting, Tama Art University 2018 M.F.A., Japanese Painting Course, Tama Art University Graduate School ~2022 Assistant, Japanese Painting Studio, Tama Art University Solo Exhibitions 2026 “Reconfigured Westerlies” LOKO GALLERY／Daikanyama 2025 “POLY -transparency” msb gallery／Nihonbashi 2025 “Polymerization” Kameido Art Center, Higashi-Ojima 2024 “POLY-viewpoints” obi gallery, Fujisawa 2023 “EYE-BALLS ADVENTURE part:2” Yanagisawa Gallery, Higashi-Urawa (organized by Gallery pepin) 2023 “EYE-BALLS ADVENTURE part:1” LOOP HOLE, Fuchu 2021 “The Field and Daylight 3.2” tagboat, Yurakucho 2021 “The Field and Daylight 3.0” Sukiyuwa, Nishi-Ogikubo 2020 “FUZZY CRAWL” Art Space Rashinban, Kyobashi 2019 “BEAST / HUMAN / MACHINE” Kameido Art Center, Higashi-Ojima 2019 “Vapor under the city” Sukiyuwa, Nishi-Ogikubo 2018 “Drone’s eye (half a person)” tagboat, Ningyocho 2018 “The Field and Daylight 2.0” Art Space Rashinban, Kyobashi 2017 “The Field and Daylight” montanO-librO, Nishifunabashi 2017 “The Field and Daylight” Galleria Aoneko, Nishi-Ogikubo Group exhibitions 2026 “Homage to Ei-Q 2026「A Changing World and the Creation of New Values — Rethinking the Visible」Vol.1” STAND COFFEE KOTOKOTO gallery-B, Saitama 2025 “「as if」 – 12 artists express music” Sukiyuwa, Nishi-Ogikubo 2025 “Joint Exhibition of the Painting Department (Japanese Painting / Oil Painting / Printmaking), Tama Art University「Tamabi Beyond, at the 90th Anniversary」” Tama Art University, Hachioji 2025 “UNLABELED” Art Liberation Zone, Ningyocho 2025 “ The 20th Anniversary ‘LOOP HOLE Expo. 2025’ / LOOP HOLE Pavilion” Fuchu Art Museum, Fuchu 2023 “Sourai” Sukiyuwa, Nishi-Ogikubo Residence 2022 Minato Media Museum 2022 Award 2024 Selected, Idemitsu Art Award 2024 2024 Wakato Onishi Award, KAMIYAMA ART Quadriennale 2024 Chairman’s Award, 59th Kanagawa Art Exhibition (Painting & Sculpture Division) 2018 Sukiw a Prize, Gallery e Ikō 2018 2018 TAGBOAT Award, Independent Tokyo 2018 2018 Selected, 13th Daikokuya Contemporary Art Open Call Exhibition 2017 Selected, Kanaya Art Museum Competition 2017 2014 Encouragement Prize, Yume-bi Biennale Selected Works Exhibition
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