或イハ彼モマタ知ラズ
Year: 2005
Material/Technique: Acrylic, Panel
Size: 112 × 145 × 3.7 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
USD 4,178
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.











About the Work
- Year
- 2005
- Material/Technique
- Acrylic, Panel
- Size
- 112 × 145 × 3.7 cm
- Edition
- Unique
- Signed
- Included
- Credits
- ©︎Hideaki Fujimoto
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- Hideaki Fujimoto
- Ship-from Area
- Okinawa Prefecture
- Days Until Dispatch
- About 2 Weeks
- Category
- Painting
- Style
- Others, Half Abstraction, Animal, Fantasy, Emotional, Japanese Painting / Japanese Style, Geometry, Digital, Primitivism, Energy, Asia
Work Details
或イハ彼モマタ知ラズ
本作は、2006年のVOCA展(上野の森美術館)出品作「Thermoscape」の、オリジナルバージョンです。
参考情報「Waterscape 」の展示風景: https://artsticker.app/works/41117
2001年に始めた「水に杭」シリーズから風景画の構造を、2002年からの「再会」シリーズで生き物等の具象的なモチーフを、それぞれ取り入れて展開してきました。2つのシリーズからのフィードバックによって生まれたのが本作です。
制作の流れとしては、日本画の大下図のような原寸大の線画を、画面とは別のトレーシングペーパーに作成します。そして塗り重ねる色のレイヤー構成を考えますが、モチーフの固有色には拘らずに絵画的に良いと感じる色をチョイスします。
線的にも色面的にもプランがある程度決まったら、トレーシングペーパー上の線画をパネル上に転写し、本画制作に入ります。使用パネルは表裏両面貼り。画面、側面、裏面と全面に地塗り。画面背景色と同色が側面にも塗り重ねられています。
画面では、下塗りと木目を潰す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、描写として塗りを重ねます。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。
藤本の絵画作品は、1999年から現在まで「アクリル絵具の積層と研削」という一貫した技法によって制作されています。
絵画が持つ特性、「重層的なマジック」を活かしてその可能性を追求しています。
展示風景
個展。左が本作。
残熱行(ざんねつこう)」2008年、ギャラリーアートリエ(福岡)
撮影者: 吉住 美昭 撮影日: 2008/07/25
展覧会リリース: https://gaartlier.exblog.jp/7879177/
この作品で表現したかったこと
時間が流れ、生命が生まれ、存在し、消滅する。。。
世界についての抽象的な感覚を、具象的なモチーフのある風景画として表現しようとした作品です。
制作にかかった時間
3ヶ月
View in a Room
How to Buy
This artwork is available for purchase.
USD 4,178
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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