In 2021 I moved my artistic practice to Penzance, Cornwall in the South West of England.
I have always had the desire to live and work in Europe.
This desire has never left me.
Cornwall, in the South West of England, is a place where
From morning till night, you can feel the beauty of the place.
How do we create beauty?
When I see something beautiful, I sometimes wonder.
When I see something beautiful, I sometimes think about "seeing the invisible".
These are the words of Kunisuke Ueda, who taught me the essence of the materials used in painting.
I went with Mr Ueda to a gallery to see his work.
In the middle of the gallery there was a large concrete rectangular work.
I think it was about three metres high.
While looking at the work from a distance
Mr Ueda muttered to himself.
It's coral, I'm sure it's that kind of coral.
I was so impressed by what he saw.
I was moved by the fact that he was seeing things differently, that he was not looking at the surface of the painting, but at what was underneath. This is what I value in my work.
My encounter with Mr Ueda had a great influence on my creative process.
The colour that appears on the surface changes depending on how the base is made.
I used to focus on the surface treatment.
I used India ink, acrylic and oil, but I think I used them without understanding the materials.
Often the colours didn't come out beautifully on the screen and I didn't find the work interesting.
It was then that I was introduced to Art Repel by Mr. Kawada, President of Kawada Framing.
After trying Art Repel, I was so amazed that I wanted to meet the person who made it.
Mr. Kawada connected me with Mr. Ueda and I was able to meet him.
I was so fascinated by Art Repel that I stopped using my old art materials.
In order to learn from scratch, he gave me a lecture on painting materials and taught me his work.
We start by knowing the base and the materials before we start painting.
The expression comes later.
Sometimes we make mistakes, but that's OK.
Working abroad, we are often influenced by the environment. The painting materials developed by Mr Ueda are able to cope with this situation. They are highly flexible and are not influenced by the environment. It is also environmentally friendly and does not damage the painting material.
For example, Ueda's mediums help to avoid cracks and accidental damage during the exhibition.
Try it! He is always willing to open the door to the unknown.
The painting materials developed by Ueda are mainly synthetic resins.
His mediums are slightly inclined to alkalinity.
Alkalinity is a return.
Alkalis are generally soluble and neutralise acidity. Think of seawater.
The pH of seawater is slightly alkaline, although there is currently talk of "ocean acidification".
The pH of surface seawater is about 8.1.
Ueda's medium has a pH of about 7.8. Therefore, it is a medium that dissolves in seawater and alkaline water.
Mr Ueda has been developing mediums for many years with the idea of reuse in mind.
I am not a medium expert. But
I am not a medium expert, but I am speaking from a position where I have used it and know how it works.
You have to try new materials, make mistakes, ask questions and
We need to update it.
This is what Mr Ueda is constantly doing with the painting mediums he develops.
Each time you use a material, your body remembers it.
The more times you use a material, the more your body remembers it, and the more it learns to make decisions about which materials to use.
As you work with the different materials, you will discover an infinite world of beauty.
There is nothing but excitement.
The materials I use in England are
Art Glue
Aqua glue
art resin
Azuma glue
Art paste
Thickeners
Neutral Sizing Agent
Aquaguard
Aqualepel
Pao Mix
Concentrated water-based pigments
Gusansai
dyeing colours
Art Repel
Powders (calcium carbonate)
Comments