NOTE

human body

I have consistently drawn people. In an art school for entering a university, we practiced the technique of seeing the object as it is with a gypsum drawing and an oil painting modeled on a person, and even at the univer- sity we have studied the person drawing and the person based on oil paint- ing through challenges. .

The body drawn by Rubens, De Kooning’s “woman”, or “Beautiful Lady” who was just trying to get life by Frenhofer (Note 1), the ivory maiden made by Pygmalion got life. As if he were a human (Note 2), his purpose was to give life to the person he drew.

I thought it could be achieved by reproducing the superficial details of the person. Pygmalion made the human body, not the person. So I decided to use the abdomen as a static motif without consciousness, movement, or breadth. The abdomen chosen to make the shell of a person has a monu- mental and sensational appearance because of its sizelessness and its size. I felt that the skin was not as strong as the shape and movement of a person, but as glossy and strong as to human reproduction and life. It con- tains those functions such as the flesh and bones under the skin and the relationship between consciousness and the body, and the skin shows only a part and invites me. The skin is the object that is closest to me, wor- thy of inquiry, possessed by drawing, and able to fill myself.

Also, the abdomen looks more human than the face-painted work. The character of a person is not brought about by facial expressions or move- ments of a person. It’s something we don’t talk about, and by becoming an expressionless person, we get closer to the essential being. Or, it exposes the true nature. I thought that it could be expressed by an expressionless part rather than a face rather than talking. That part is the abdomen with internal organs, for me, more hands and arms than hands, legs more hands and arms, more legs.

Possession

I wondered if this could be achieved by reproducing the superficial details of the person. Pygmalion made the human body, not the person. So I de- cided to use the abdomen as a static motif without consciousness, move- ment, or breadth. The abdomen chosen to make the shell of a person has a monumental and sensational appearance because of its sizelessness and its size. I felt that the skin was not as strong as the shape and move- ment of a person, but as glossy and strong as to human reproduction and life. It contains those functions such as the flesh and bones under the skin and the relationship between consciousness and the body, and the skin shows only a part and invites me. The skin is the object that is closest to me, worthy of inquiry, possessed by drawing, and able to fill myself.

Also, the abdomen looks more human than the face-painted work. The character of a person is not brought about by facial expressions or move- ments of a person. It’s something we don’t talk about, and by becoming an expressionless person, we get closer to the essential being. Or, it exposes the true nature. I thought that it could be expressed by an expressionless part rather than a face rather than talking. That part is the abdomen with internal organs, for me, more hands and arms than hands, legs more hands and arms, more legs.

Possession

By drawing the skin of the abdomen in detail with a face brush, the paint of one stroke changes into one cell of the skin made on the canvas. I own that skin by drawing. The feeling that I felt satisfied by drawing was the feeling that I was trying to transform into a more certain thing by satisfying my body by drawing and owning it.

My interest in body decoration such as tattoos, which inspired me to paint, became more and more pervasive in my painterness through the chal- lenges of drawing and oil painting using people in university classes.

Body decorations such as tattoos are related to human ugly parts such as body fluids such as blood and excrement, odors, pain, etc. There are vari- ous things to represent. By sticking a needle into the skin and digging in, one wants to complement the imperfect self and become more complete. By incorporating a foreign substance, the self becomes aware of what is inherent and re-recognizes itself. The pain of being stabbed with a needle is also the pain of being reborn. A longing for a kind of violent thing, a com- plexion for the ugliness of one’s body, a desire to lack something is not special.

However, my interest in this tattoo was not just something I was interested in tattooing, and I was interested in the tattoo side. By putting it on the skin, the pictures are formed one after another, and the pictures are col- lected by carving the body of oneself who has been satisfied together. In my work, engraving with this tattoo is a hand-engraved chisel for the in- scription brush, and the outline of the person drawn with the pencil is a line engraving. Like body recognition and fulfillment by body decorations such as body piercings and tattoos, drawing the body for me wants to se- cure the body in relation to my consciousness, to get a more complete body. It is a desire to want.

Then, by drawing, collect the body called painting. A painting has the same relationship as a body with tattoos, and a painting that can be made is a collection that can obtain multiple bodies.

Also, I often use photographs in the production process. Photographs are an auxiliary means of painting production. By taking, looking at, and draw- ing a picture, I felt a high degree of perfection and a strength not found in painting that cannot be obtained by drawing on a picture. Due to the differ- ence between the real thing and the one taken in the photograph, such as flattening the three-dimensionality of the photograph, diluting the material feeling, simplifying or emphasizing the gradation of light and dark, and raising the color harmony, the use of the photograph is in painting As a simple method, it has a negative side. However, he was interested in pho- tography and did not stop using it. I still assure you that the photo is real (Note 3), the duality of seeing different things in one photo, the shock of seeing something I have never seen before, a part of a casual photo It attracts me with interests in details, interests in unconsciousness, aggres- sion trying to make it my own (Note 4), and indiscriminate predatoryness (Note 5). For me, photography is “just a catching experience, and a cam- era is an ideal arm for a greedy consciousness” (Note 6). As Susan Son- tag (1933 ~ 2004) states, it is also about accepting the subject within him- self and making it his own property. In the process of creation, the bodies that were divided into parts were combined while drawing, and the bodies

did not fit within the prescribed size of the photograph, but they were seg- mented into parts, examined, and spread on the tableau. Then, by draw- ing, they are integrated again to create the whole picture.

It does not mean to re-recognize one’s body by the difference between one’s body and the other’s body in the photograph. For me, a photograph is held as an object of its own, with the subject held in the photograph. Others who become objects are satisfied within themselves and recon- struct themselves.

However, depending on the photograph, I try to see myself in the “photo- graph”, but that is the self I am trying to see, not the same as the self. The non-identifying self is the other who has become an object, and by experi- ence of seeing it many times, it is agreed with the image in the self and the self is formed. It is a phenomenon similar to the act of an infant 6 months old looking at himself in the mirror. This mirror image stage is self- sufficiency in which the infant, who is the subject, accepts the other self, which is the object in the mirror, within himself, and forms himself by ob- taining the identity of the subject and the object (Note 7). Inside and out- side, so that the self, who has not yet acquired identity with the self in the mirror, assembles the inner and outer relationships of his own conscious- ness and his body and the infant breaks the toy to confirm the existence of the subject. Breaking the boundaries of and trying to acquire self. The mir- ror image step is for resolving the incongruity between the ideal image and the real self, and its identity is obtained by gaining the outside, that is, rec- ognizing one’s body. It is necessary to make others exist as one’s own and to have a body to acquire oneself.

surface

Henri Wallon (1879 ~ 1962) says that the image in the mirror for infants has a space different from that of adults, and that space is “a space stick- ing to the image (Note 8)”. The mirror image that an infant sees in a mirror is tactile with movement, as in reality. The space around the mirror image has resistance like silicon, stickiness, clinging to the image, and slowing movement.

Photos are similar to mirrors in that they also go through the mirror image stage. However, the images in the photos are already captured by the cam- era, so the movement is contained and does not move. The space in the photo does not need to be sticky or contain liquid like resin to contain the movement.

The liquid covering the object protects the object in the photo, much as oil in oil paint protects the pigment. However, the oil film of the painting not only protects the pigment, but also the painting itself, the image depicted in the painting, that is, the virtual image itself. The virtual elephant is con- stantly falling away from the surface of the object in a real space where nothing is protected.

Gerhard Richter 1932- uses the word “Schein: provisional elephant = light (Note 9)”. Using photos as the main structural part of the work, trim im- ages taken by others such as magazines and newspapers, or photos taken by yourself, enlarge them on canvas, and brush the surface with a brush before the paint dries. So, I am blurring and producing “Photo Paint- ing” (Note 10). This is because it sorts out too much information and makes it all the same, and by adding something from a photograph to a painting (Note 11).

According to Plato (Platon 384B.C. ~ 322B.C.), “Aidolon-image (image)” means “acorn-copy (image)” that is the ideal image of the object, and “Fan- tasma”. = Simulacle (phantom image) ”(Note 12). The “simulacle” is a model of an original image of nature in itself, and the third model is “dis- tance from reality”, which is doubly separated from the actual image as a model of that model. (Note 13) ”, which is an image that should be exiled as a bad and denial image that imitates only the appearance. A “copy” is “like” an idea, supported by similarity. Moreover, there is a “model (model)” as the “same thing” supported by the sameness as the idea. A “model” is the original image of a “copy” and is an idea. The “model (model)”, which

is also the idea, is under the umbrella of the idea together with the “copy (image)”, and exists to expel the “simulacle (imitation image)” by compari- son (Note 14). ).

According to Gilles Deleuze 1925-1995, “when Simulacle (spoof) relates Ore himself to a model (model), this model (model) no longer enjoys the same <same> identity. The model (typical), on the contrary, is <another>, another model (typical), and the immediate dissimilarity from which inter- nalized dissimilarity arises. It is a model (standard type) of self-difference (Note 15). ” It describes mutations in which a “model” of identity to an idea becomes a different “model”. The “simulacle” is obtained by independ- ence, and it is obtained by the surface of the object.

In the production of abstract painting, I use oil paint and run a stroke of a brush from the top to the bottom of the canvas. Overlay the paint, and if you decide that it still doesn’t work, pour the solvent on the canvas, melt the paint, and wash it off. Instantly determine whether the paint that has flowed out is needed or not, wipe it off, or stack the next paint to complete it. The gap created between the strokes becomes a space and gives each stroke a sense of distance. Energy rising from the darkness. A band of light in the sky. Darkness in the light, light in the darkness. Find pieces in the chaotic canvas space and join them together.

I sometimes draw while making use of the fluidity of oil paints, thinking of the casual play of light in the corner of my memory and the contrast of beautiful scenery. What is memorable is not the concrete shape or content of the story. With the passage of time, details, shapes and narratives melt, colors flow, distort, and are reconstructed in ambiguity. Find a bright piece of sleep in the fading colors and spread it out on this screen. The fluctua- tion of color becomes a space, gains depth, and stimulates the emotions at the bottom.

A “water mirror” with an image on the surface of the water, so that the bleeding and rubbing of Japanese sumi-e can represent the earth and flow- ers, and that some concreteness can be seen and hidden in the abstract style of color. Blurred images on paper, crystal clear skin, night, curtains blown by the wind, memorable wind, energy of the beginning, the abyss of light shining from the clouds between the depths of emotion, the aurora, underwater, Drop it into the gradation of the sky at sunset, the shimmering flames, the heat haze, and the beautiful contrast of colors and colors.

Draw a sign that you can feel the quietness, such as in the foggy forest in the early morning and at a slight dusk. It is born only in layers of filters and spaces. Just like Husmart’s thin layer of paint creates a space in the paint- ing, the technique of oil painting that overlays a pale veil changes into the thickness of the skin, and it is drawn so as to enhance the reproducibility of human skin. We will reproduce what you have.

The drawn human body is both a shell and an internal body. It breaks the shell of the human body and releases the soul. The place to open is the surface of the canvas on which the paint flows, and is an abstract expression.

Note 1 Balzac / Ryo Mizuno Translated “Unknown Masterpiece” 1928 Iwa- nami Shoten

Note 2: Ovidius “Pygmalion” translated by Yoshiya Nakamura “Ovidius Makeover Story” Iwanami Shoten 1984

Note 3: “The“ photographs ”are reproduced innumerably only once. A “pho- tograph” mechanically repeats that it is never actually repeated again. The events shown in the “pictures” never go beyond themselves to anything else. “Photographs” always bring back the materials I need (= the body of the sample) to the body of the particular photograph I see. A “photo” is an absolute “individual”, a non-reverberant, foolish, most “accidental” thing, and “just as it is”. p.9)

Note 4: Susan Sontag, supra, p.13.

Note 5 ibid, p.22.

Note 6 ibid. P.10.

Note 7 Jack Lacan / Tadao Miyamoto et al. “Ecri 1” Hirobunsha 1972 p.125-134. (Jacques Lacan, Ecrits, Paris, Editions du Seuil, 1966)

* 8 Translated by Henri Wallon / Masato Kubota “The origin of personality in children until the establishment of personality consciousness”, 1965, Meiji Publishing

Note 9 Illusion-More appropriately Anschein (provisional elephant = light). Schein (provisional elephant = light) is my lifetime theme. Everything that exists is visible to us because we perceive Schein (hypothetical = light) that is reflected, and we cannot see anything that does not reflect Schein (hypothetical = light). Painting is superior to any art, and is related to Schein (provisional elephant = light) (of course, photographs are included in it). The painter sees the Schein (temporary elephant = light) of the thing and repeats it, that is, the painter only creates the Schein (temporary ele- phant = light), not the thing itself. Even if it does not associate any con- crete object, the artificially created Schein (tentative elephant = light) func- tions as a Schein (tentative elephant = light). This is because the viewer seeks for similarity to the familiar Schein (tentative elephant = light), that is, Schein (temporary elephant = light) with a concrete object. Gerhard Richter; Hans-Ulrich Obrist, Text: Schriften und Interviews, Frankfurt am Main, Insel, 1993, p.171-172.

Note 10 “Blurring contours is to make everything even, to make everything equally important, or not equally important. To be artistic, not manual, ie technical, smooth and perfect. As you can see, it is obscured. It is ob- scured because all parts penetrate each other. It can also be said to wipe away too much unnecessary information. 』Wako Works of Art 1996 p.96.

(Gerhard Richter; Hans-Ulrich Obrist, supra)

Note 11 “Maybe we will discover a better way than” drawing “one day! But for now, the familiar brush and paint job seems to be much easier and more successful than photography. Basically, photography remains tied to simple, repeatable tricks and controls. Besides, something new is added at will, even while just drawing. Something I don’t know for myself ” Ger- hard Richter, ibid., P.92.

Note 12 Plato / Norio Fujisawa, translated by Ariyoshi Mizuno “Platon Com- plete Works 3” “Sopisutesu (p.264 C.)” 1976 Iwanami Shoten p.156.

Note 13 Plato / Norio Fujisawa, translated by Ari Mizuno “Platon Complete Works 11” “Kokusai (p.559A. Others)” 1976 Iwanami Shoten p.701. Others

Note 14: Jill Deleuze / Ri Zaitsu, “Difference and Repetition”, 1992, Ka- wade Shobo Shinsha, p.198.

Note 15: Jill Deleuze / Rizu Zai, “Difference and Repetition”, 1992 Kawade Shobo Shinsha p.200.