undefined space

　When trying to understand what is invisible, people try to grasp and control the world by creating outlines and boundaries and deciding positions. However, the actual world isn't that convenient; it's hard to separate anything; it's even more vague and blurry; it exists in a mixed state.

　A painting is fiction that exists within a frame, and is organized in an order different from reality. The moment you put brushstrokes, brushstrokes, etc. there, it just blends in and makes you want to erase it. I'm supposed to be trying to draw something, but they seem to be imposing strong intentions, and it makes me feel resistant. My painting is not about controlling the phenomena that occur on the screen; the act of accepting and responding to them completes the work.

　Painting begins by dropping paint dissolved in water onto a cloth. Paint transmits fibers and spreads in a different way than imagined. I don't have full control over it. Even so, they haven't left it completely unattended; they try disturbing it with a brush, push water off the other side of the stream, try dropping new paint, and just wait. In what state are you trying to interfere? Where are we going to stop? As those decisions are accumulated, the expression on the screen changes.

　Is it possible to make a good choice to leave bleeding to water? Whether that fluctuation can be recognized as a work. Traces of each judgment are left behind as a result.

　The thin cloth selected for the support allows light to pass through, and strokes drawn on the lower layer emerge. It feels like it contains air and light. When paint flows through the screen, traces such as pulses or branches of lightning may remain. It's more like a product than a drawing.

　The starting point of interest was the layer structure of the skin and how it looks. Eventually, interest changes to the shift in line of sight when looking at the surface of the water and the fluctuation of light bouncing off the bottom of the water. I feel this structure is close to the movement of a person's gaze when looking at classical paintings.

　What I've been aware of again in recent years is that “margins create space from the beginning.” My work is an act of repeatedly making small decisions within while surrendering myself to the order of the painting. Control and entrust, and think in between. Accept the ambiguity.