stakes 9
製作年份: 2013
材料或技法: 丙烯酸纖維, 控制板
尺寸: 34.5 × 34.2 × 1.9 cm
版本: 獨特
簽名:包括
關於作品
- 製作年份
- 2013
- 材料或技法
- 丙烯酸纖維, 控制板
- 尺寸
- 34.5 × 34.2 × 1.9 cm
- 版本
- 獨特
- 簽名
- 包括
- 製作人員名單
- ©︎Hideaki Fujimoto
- 畫框
- 不包含
- 作品證書
- 包括
- 藝術品經銷商
- Hideaki Fujimoto
- 發貨區域
- 沖繩縣
- 發送前的天數
- 大約兩週
- 類別
- 繪畫
- 風格
- 抽象的, 半抽象, 日本畫/和, 數字的, 幾何學, 極簡主義
作品詳情
The “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 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 9th film under the new title.
The colored surfaces shaped like lotus ponds are distributed in an intricate manner so that the noisy colors of green and red collide with each other. It is a configuration where white piles are arranged there.
I aimed for an image where “two time axes coexist.”
The contrast between transition and immutability makes time itself a painting.
Production method
The production flow is to create a full-scale line drawing, which mainly describes the arrangement of motifs such as stakes, on tracing paper separate from the screen, as shown below in a Japanese painting. Then, plan the layer structure for the colors to be painted over and over.
Once the plan has been decided to some extent in terms of line and color, the line drawing on the tracing paper is transferred onto the panel and the main picture production begins.
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.
3 weeks
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.
觀賞擺飾在房間裡的樣子
購買方式
這件作品可供購買。
USD 412
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藝術家
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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