杭 26
Year: 2021
Material/Technique: Acrylic, Panel
Size: 30.1 × 150 × 2.5 cm
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
- 2021
- Material/Technique
- Acrylic, Panel
- Size
- 30.1 × 150 × 2.5 cm
- Edition
- Unique
- Signed
- Included
- Credits
- ©︎Hideaki Fujimoto
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- Hideaki Fujimoto
- Ship-from Area
- 現在企業様へレンタル中のため、ご購入希望の方はThe Chain Museumへお問合せ下さい。
- Days Until Dispatch
- 現在企業様へレンタル中のため、ご購入希望の方はThe Chain Museumへお問合せ下さい。
- Category
- Painting
- Style
- Abstract, Others, Half Abstraction, Conceptual, Japanese Painting / Japanese Style, Emotional, Geometry, Digital, Romantic, Asia, Minimalism
Work Details
杭 26
2001年から2008年にかけての不定期連作「水に杭」シリーズは、数年の中断を経て2011年、「杭」にタイトル変えして再度展開しています。水景の構図を用いながら抽象度が高く、ミニマルな画面スタイルが特徴です。
本作は超横長の構図も特徴ですが、これは自分がしばしばチャレンジしているサイズです。
制作面で独特の空間が構築できますし、設置の面でもパブリック、プライベート問わずマッチングしやすいようです。
キャンバスは、表裏両面に地塗りを施しています。下塗りと面の粗さを調節する削りによるプレパレーションの後、部分、ベタ合わせて20層以上の塗りを重ねます。そして、水をかけながら耐水サンドペーパーでの研削を、完成画面が見つかるまで繰り返します。仮板の上で作業し画面作業が完了したら、キャンバスを合板パネルに張り替えて完成品となっています。画面は削り出しによる平滑なマチエールなので、作品をふきん等で拭き掃除することもできます。
絵画の特性の一つ、「重層的なマジック」を活かしきること。
制作を志した頃からの、私の欲求に沿ったやり方を1999年に見つけました。
以来、「アクリル絵具の積層と研削」という一貫した手法で絵画の可能性を探求しています。
fujimoto stakes26 grinding process
この作品で表現したかったこと
移ろいと不変の対比で、時間そのものを絵画化する。
制作手法や使用している道具
アクリル絵具の積層と研削。削り工程では、画面に水をかけながら耐水性のサンドペーパーで削り込んで画面を作っていきます。
作業の様子Youtube:https://youtu.be/U-jGM1pBkZE
制作にかかった時間
2ヶ月
作品に込めた想い
作品は鑑賞者の感性を載せる乗り物のようなものです。色と形とマチエールの世界でお好きなトリップを楽しんでもらえれば幸いです。
View in a Room
How to Buy
This artwork is available for purchase.
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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
painter
Painting as PhenomenonHideaki Fujimoto explores the possibilities of painting through a method that builds up the picture surface by layering and grinding acrylic paint. His compositions range from the representational to the non-representational, yet all share a common quality of color and matière.Born in Akashi, Hyogo Prefecture, Fujimoto developed an early fascination with vehicles and machinery that grew into a longing to "make things." This led him to AKASHI National College of Technology, where he studied mechanical engineering; his graduation research examined the wear of NBC cutting tools in metal processing, and the textures and imagery of metal he observed under an electron microscope during that research continue to inform his work today.While still a student, he grew increasingly drawn to design and graphic art, and decided to change course, transferring to the Department of Industrial Design (now the Department of Design Engineering), School of Engineering, Chiba University, where he studied design more broadly. For his graduation project, he worked in a fine art research laboratory, producing paintings.After graduating, he worked at a design office and gained other professional experience before once again deciding to pursue painting. He enrolled in the Department of Oil Painting at Musashino Art School, spending two years relearning the fundamentals of painting and completing the program in March 1997. He moved to Naha, Okinawa immediately afterward, and has been based there, continuing his practice, ever since.Having long been drawn to painting's layered structure, uniqueness, and physicality, Fujimoto arrived in 1999 at his signature technique: building the picture surface by layering acrylic paint and grinding it down with sandpaper. Since then, while continuing to explore a range of visual styles, he has consistently pursued what he calls the "layered magic" hidden within painting.In recent years, he has also actively presented and sold his work online, including through e-commerce platforms and art subscription services.
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