My practice explores the concept of “center”—a notion largely abandoned in the postmodern era—through painting, expanding it into diverse expressions.
(Here, the term “center” encompasses not only the general meanings of geometric center and centroid but also the visual focal point of the canvas and the concept of “center” as a point of force in compositional structure.)
Origin of Artmaking
I have been captivated by and engaged with painting since childhood. My work originates from the “black square” of my student days, using the simple motif of the “square,” inspired by an apartment door in the 1980s, to explore the relationship between painting and humanity. Painting, for me, is neither a tool for illusion nor a mere object; it’s an attempt to question what the essence of painting is. Through the interplay of color and form, and the captivating resonance they create, I hope viewers encounter their own emotions and memories, leading to new insights.
black square 1980
Born in 1957, I grew up surrounded by the rich nature of Shimane Prefecture and encountered contemporary art at Sokei Academy of Fine Art in 1977.While feeling a sense of unease with the conceptual tendencies of contemporary art and the relativistic values of postmodernism, I also, through my past experience analyzing children’s drawings, encountered the inherent essence of creativity that everyone possesses.
I strongly realized that existing art authorities have no relevance or utility in this realm. My exploration of “the center” is based on this realization; it’s by no means a pursuit of fixed authority. The methodology I used to convey the creativity found in children’s drawings, involving a dynamic analysis surrounding the center of the canvas, directly connects with my ongoing exploration of “centered painting” in my own artistic practice. Through this experience, I pursued the universal beauty and fundamental power of painting. Rudolf Arnheim’s theories, which sought to clarify the universal principles of visual art, have supported my creative work. I aim to create works that possess both content and materiality, differing from the all-over compositions seen after Jackson Pollock, and I explore unique rules for color and form.
During my student years, I copied works such as Vincenzo Foppa’s “Madonna and Child” (a tempera painting using classical techniques) from the 15th-century Northern Italian painter, as well as pieces by Gauguin and Manet. Influenced by painters who pursued the possibilities of color and form, like Matisse, Bonnard, Klee, Miró, Kandinsky, Delaunay, and the Abstract Expressionists, I seek to find universal beauty within simplicity.
Decision to Embrace the Center
Since the 1990s, I have explored motifs such as “bands” and “two squares” through techniques like paper cutting, printmaking, and acrylic painting, in an attempt to directly confront painting. This simple expression of placing a center reflects my desire to communicate directly. I believed that the center attracts the gaze and creates a relationship with the entire canvas, and that the reciprocal movement between the canvas as a whole and the center generates continuity. This motif, though simple in form, generates a powerful magnetic field that captivates me. Yet, at the same time, I have created within the paradox of also desiring liberation from it.
The ‘Center’ as a Filter
Amidst the proliferation of postmodern relativism, I questioned whether it was still possible to pursue universal values. Consequently, by deciding to place a center on the canvas, I sought to gain a filter that would allow me to freely interpret the achievements of art history. This decision became not only the starting point for my creative activities but also a theoretical foundation for contemplating the history of painting and the possibilities of expression. I perceived it as something that, like a string allowing a kite to fly high, grants freedom despite being a constraint. This concept has slowly evolved over time, influenced by my state of mind and environment, undergoing processes of condensation and expansion.
Understanding and Empathy
The variations of color and the relationships between colors are crucial concerns in my creative work. I believe that painting is an experience of the world’s mysteries, encompassing diverse elements such as material selection, color harmony, form and rhythm, part and whole, and the resolution of emotions. I believe that when these elements interact, making the canvas vibrant and allowing viewers to recall the joy of being alive, a path opens to understanding this world. Through my works, I hope that viewers encounter their own stories and emotions, and gain new discoveries and inspiration.
A Space for Dialogue
While Modernist painting pursued the autonomy of the painting itself, I felt a sense of interaction with the artwork. Therefore, instead of focusing solely on the pursuit of purity, I cherish the dialogue that emerges in the process, and by promoting communication with the viewer through the “center,” I explore new possibilities for painting. Unlike paintings such as those by Mondrian, which pursue purity and a unified whole, my works first draw the viewer’s gaze to the “center” and then guide it to circulate throughout the entire canvas. This active visual journey encourages viewers to decipher the work’s structure and artistic intent, connecting it with their own inner experiences.
For me, the “center” is an axis for change, for building relationships, and for establishing my own expression, as well as a foundation for creating a space for dialogue with the viewer. I hope to continue pursuing the “center” with even greater flexibility in the future, creating works that foster new dialogues with viewers through painting.