the First IKEA Break 15:57 21/12/2019 (mix) (paint) (depict)
Year: 2022
Material/Technique: Acrylic, Canvas
Size: 27.5x27.5x3.5cm triptych 三連作
Edition: Unique
Signed:Included
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Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.



About the Work
- Year
- 2022
- Material/Technique
- Acrylic, Canvas
- Size
- 27.5x27.5x3.5cm triptych 三連作
- Edition
- Unique
- Signed
- Included
- Credits
- © MIKI WANIBUCHI
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- MIKI WANIBUCHI
- Ship-from Area
- Osaka Prefecture
- Days Until Dispatch
- 2-3 Days
- Category
- Painting
- Style
- Everyday, Abstract, Conceptual
Work Details
(mix)
(paint)
(depict)
CONCEPT コンセプト
2019年に受けた胃の手術後大きな意味を持つことになった「食べる」ということにフォーカスしたシリーズ、“REVIVE”。食事を記録撮影し、その食べる前・食べた後の画像を並列させ描いた作品をメインとしています。2021年からは絵画の要素を3つに分解したトリプティック(三連作)になります。
風景の記録写真をいちどデジタルで自動的にモザイク化し、それをアナログで忠実に色を再現しようと試みる。そこで塗るための色は別のキャンバスをパレット代わりにして作成する。そうすることで、色を作るという無意識的で純粋なひとつの作品(mix)が生まれる。色を塗るという無心なもうひとつの作品(paint)が生まれる。
さて、「風景から色を抽出する」という一要素だけに焦点をあてながら風景画(≒絵画)の意味を探るなかで、depict(描く、描写する)をもう一度定義できるだろうか?こうしてトリプティク(三連作)を制作しています。
絵画の要素を分解し極限までシンプルにすることで、その良さや意義のようなもの、つくった作者の身体性や存在が浮き彫りになると考えています。
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"REVIVE" is a series focused on "eating" which took on great significance after stomach surgery in 2019. It features two images of before and after the meal, arranged together in one painting. Triptych style in which the elements of a painting are divided into three is adopted from 2021.
In my creating process, the recorded photos of the scenery are digitally and automatically processed into mosaic. Then I try to reproduce the colour faithfully with analogue using paints. This is the work that comes to the centre. I use another canvas as a palette to mix and create colours for painting. This creates an unconscious, innocent body of work of “mixing colour”, and another pure body of work of “painting colour”. The third one is produced to see if we can redefine the word “depict”, while focusing on the single aspect as extracting colour from the landscape, and it ends up forming a triptych.
I try disassembling the elements and focusing on only simple ones, in a painting in which various elements are intertwined. In addition, I create a simple structure consisting of only cloth and paint to reexamine the fundamentals of painting. It’s like a scientist/chemist pursuing something. It could be a fundamental research of art.
I think there is something that stands out when you leave out the superfluous elements, even your personal feelings. It may be the meaning and interest of landscape painting, personality and physicality of the artist.
Photo and mosaic materials of making artworks
Solo Show “REVIVE ii”, 2021, gekilin.
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Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
Fine artist who pursues the boundary.
I paint extremely abstracted ‘landscape painting', focusing only on the single point of ‘extracting colour from the landscape’. This is a work that raises questions about the way we view landscapes in today's IT-enabled society, and aims to provide an opportunity to realise the essence of ‘landscapes’, which can now be easily recorded and viewed by anyone, while moving between the boundaries of real and abstract, analogue and digital.
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2021年頃から絵画の要素を(mix)(paint)(depict)の3つに分解したシリーズを制作しています。作品を “みる” ことで思考し想像する時間を創出することを大切なコンセプトのひとつにしています。絵画を制作することで社会にどういった貢献ができるのか、人々の生活のなかでどんな働きをするのか。美術の基礎研究とも言えるわたしの作品制作に、ご支援をよろしくお願いいたします。
Since around 2021, I have been producing a series in which elements of paintings are broken down into 3 parts: (mix) (paint) (decide). One of my important concepts is to create time to think and imagine by "seeing" the work. How can painting contribute to society and how does it work in people's lives? I would like to ask for your support in my artwork, which can be described as basic research in art.