Satoshi Sobata

Indeed, what is the meaning of drawing a picture? What is the purpose? What is the essence of painting? What is existence? What is dignity? Drawing pictures is supposed to be fun, but why don't many people enjoy it like they did when they were little? I've been thinking about this question for a long time.
I was born on Amami Oshima in 1970, and as soon as I could remember, I started drawing pictures, and when I was little, I decided that I would work to create works that many people would dream of.
In junior high school art classes, I think that even if an object can be drawn accurately, it is comparable to a photograph, so why evaluate a picture based on whether it has been successfully reproduced? While I had doubts about art education that emphasizes technology, I was moved by the beauty of expressions different from photographs on the slides of Impressionist works that I was shown in class.
While this question hasn't been solved, isn't studying painting at university just being imposed on the lecturer's old common sense? Thinking about it, I didn't go on the path of studying at a specialized university, and I hardly had the opportunity to ask for advice from other people.
And even though I wanted to draw for a while, I wasn't able to draw, but when I was in my 20s, I came across a primitive art material called pastel, and I was able to vaguely realize that what I wanted to draw was not an existence (motif), but an essence that lies deeper than existence, and I began production of the “Scenery Art Series” in Heisei 17 (2005). I was also interested in environmental issues, and one of the reasons I started using pastels was that paints do not pollute the environment like oil paints or acrylic paints, and I thought that something that had no safety issues even when used by children would be appropriate as future paints.
After that, I came across STOCKMER beeswax crayons, which are as safe as pastels and have excellent color development characteristics, and I started using them in Heisei 20 (2008). As a support, I began using Japanese paper, which is stronger and has a better texture compared to Western paper, and I have been using AWA bamboo washi for the past few years. Furthermore, in Reiwa 3 (2021), I came across MATCH watercolor paint, which is highly safe and has excellent color development characteristics, and began using it. In addition, full-scale sales of works have begun.
While working on creative activities through repeated trial and error, I was unable to give a clear answer to the opening question, I came across recognition technology nTech in Heisei 27 (2015), and I was able to clearly understand that “existence does not move, but movement makes exist,” and what I want to depict as a work is the movement of the mind itself! I came to terms with that, and production of the “MuU Series” began in Heisei 28 (2016).
My mission is to contribute to the realization of permanent world peace and the creation of a dignity civilization by re-creating this field of the universe with infinite possibilities, using the true wisdom of nTech, the recognition technology that is also the crystallization of the tears of Japan.
I hope to reverse the despair of modern society, which is full of distrust, anxiety, and a sense of blockage, and that everyone, not just special people, can demonstrate limitless creativity in the here and now to recreate new emotions, and create a dignified society full of trust, security, a sense of freedom, hope, and joy all over the world while supporting and cooperating with many people.
Also, what kind of expressions of dignity cannot be made by AI and can only be done by humans? How can we make it possible for everyone to enjoy the joy of creation? I aim to clarify it with logic and images and communicate it to people around the world.