stakes 18
Year: 2014
Material/Technique: Acrylic, Panel
Size: 30 × 30 × 2.5 cm
Edition: Unique
Signed:Included
This artwork is available for purchase.
USD 342
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
About the Work
- Year
- 2014
- Material/Technique
- Acrylic, Panel
- Size
- 30 × 30 × 2.5 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
- Abstract, Geometry, Digital, Minimalism, Half Abstraction, Japanese Painting / Japanese Style
Work Details
“Stakes on the Water” series, which was an irregular series of works from 2001 to 2008, was interrupted for several years, then the title was changed to “Stakes” in 2011 and re-developed.
If fluidity and quietness can be expressed, the policy of not being concerned with the unique color “like the surface of the water” is the same as in the previous series, but in this series, motifs other than piles are also added and arranged in relation to the stakes, taking on the challenge of constructing “various stake landscapes.”
This is the 18th film in the same series.
Even within the series, it features a highly abstract and minimalistic screen style.
It is a work with a calm taste, mainly metallic colors, but the center of the screen, the part where scattered piles are connected, etc. are fed back to the know-how cultivated through the development of the series so far.
The panel to be used is glued on both sides. Ground paint all over the screen, sides, and back. The same color as the background color of the screen has also been applied over the sides.
On the screen, after preparation using undercoating and scraping to crush the wood grain, 20 or more layers of paint are applied as depictions, including parts and solids. Then, while pouring water, grinding with water-resistant sandpaper is repeated until the finished screen is found.
The slit on the back of the work is a ventilation duct within the panel, but pins and hooks can also be hooked during installation.
Also, since it is a smooth machined matière, the work can be wiped clean with a dish towel or the like.
The contrast between transition and immutability makes time itself a painting.
2 weeks
Thoughts put into the work
The work is like a vehicle that conveys the viewer's sensibility. We hope you enjoy your favorite trip in the world of color, shape, and matière.
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How to Buy
This artwork is available for purchase.
USD 342
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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