stakes on the water 2
製作年份: 2001
材料或技法: 丙烯酸纖維, 控制板
尺寸: 30 × 20 × 2.5 cm
版本: 獨特
簽名:包括
關於作品
- 製作年份
- 2001
- 材料或技法
- 丙烯酸纖維, 控制板
- 尺寸
- 30 × 20 × 2.5 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
- 半抽象, 幾何學, 數字的, 極簡主義
作品詳情
Until now, the “Water Pile”/“Pile” series has been stored and installed at various delivery destinations because it is easy to fit regardless of the style of space, such as public or private, Japanese or Western.
Also, the screen configuration experience gained in these series was very useful for working on vertical structures and landscape paintings with various other structures thereafter, which was significant for the artist.
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 method of drawing a picture surface by laminating and grinding acrylic paint is no different from the non-target free painting “Layers of Color,” so the matière and sense of color development are consistent even in the works in this series.
To make the most of “multi-layered magic,” one of the characteristics of painting.
A scene that can only exist with paint on a support.
I found a method in 1999 that met my desires from the time I had aspired to create, and I am pursuing the possibilities of painting.
Global Business Hub Tokyo [Tokyo/ Otemachi] Exhibition period: 2023/11/1 to 2024/4/30
(*Since it has finished, this work has been returned to the author.)
The Chain Museum is in charge of art curation within the rental office “Global Business Hub Tokyo” (Otemachi, Tokyo) for cutting-edge domestic and international ventures operated by Mitsubishi Estate Co., Ltd. Works by multiple artists have been installed on the themes of “connection/exchange,” “co-creation,” and “multiple perspectives,” including this work.
The contrast between transition and immutability makes time itself a painting.
2 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 247
*顯示的為匯率換算的參考價格。結算將以日元進行。
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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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