untitled #2025 -6

After viewing a large number of images through various visual media, including SNS, “images” of non-material and ambiguous memories left in the head are dropped onto a flat surface without movement using paint with a sense of substance. I am aware of these two characteristics of an “image” of memory: an ambiguous shape and a clear sense of presence. In order to grasp the screen, it is created using a state where the eyeball twirls to focus, that is, whether it is an “unadjusted screen” as one standard.

Naruyama's work is like an image you can see in the corner of your field of vision. When people are watching something closely, their eyes catch the scenery, objects, and human movements that unfold to the left and right, but they are watching outside of consciousness. There are individual differences in what we can be aware of, but it is generally within the range of about 90 degrees, but in reality, we can see people's eyes above 180 degrees.
When you look at her work, the world you unknowingly see accumulates more and more, and before you know it, the uniqueness of the sense of layers that make up one image becomes addictive. There is no inorganic quality or emptiness that relies on a sense of substance and chance, which is common in abstract expressions, and stories overflow there, and places where you can feel body temperature and breathing are exceptional, making you feel as if you are in a jungle full of vitality.

(Miyake Mai)