TRACE: First Cry

Born in 1990 in Kumamoto.Lives and works in Kumamoto.When I was in the 6th grade of elementary school, I gradually began to have synesthesia to perceive sound as color and form, triggered by falling from above the sunlight and fainting while playing tag.Since then, sound has been changed into color and shape, and based on a unique sense, emphasis has been placed on the sense of sound reaching the viewer through the screen, and production centered on abstract paintings has continued.They are interested not only in human voices, but also in natural sounds such as the sound of rivers, seas, and bamboo rubbing, and sounds that disappear if people are not aware of it, such as heartbeat and breathing, and depicts memories and traces of existence left by those sounds.The masterpiece series “TRACE” depicts human voices, traces and reverberations left by existence, and recently sounds that make you feel a view of life and death born from one's own experiences, and in “NOISE,” the process of disappearing familiar sounds is expressed mainly in three dimensions by layering familiar sounds with a single vermilion line, using a motif called “something that child planned to like,” using white as a base tone using rare shellfish ash also used to protect cultural properties.Works by “TRACE” are mainly displayed on Art Stickers.Also, after layering many colors, there is always a motif in the assertive drawing on the screen, which is a characteristic of Hamada's work, and by asking and entrusting what you want to convey to the other person through the screen, you can capture the breadth of interpretation obtained from the viewer's experience and dialogue with the heart = the depth of the work, and layer dozens, and sometimes around 200 sheets of croquis to the extent that all viewers don't have the same answer, and aim for the space between understanding and not knowing I'm expressing it.While being influenced by ancient Japanese color views and spiritual culture, the production was carried out, and among them, Hamada was guided by “vermilion,” and adopted it a lot.Since ancient times, vermilion has been used as a color to ward off evil spirits and prayers in Japan, and when this color is captured in a modern sense, it is expressed in fluorescent vermilion.The work contains dragon characters in the base of the work, and not only are they displayed for those who pick it up, but prayers are placed on the letters so that they can feel added value only because they are displayed.Then, layers such as the composition of colors and motifs that make sense of sound are layered and put together into a single work.