2015
I am thinking about the place where we proactively change the way of our involvement and awareness to the world.
To put colours and materials on canvas is not what a painting radically is, and neither is a representative image on canvas. In fact, materiality on a painting momentarily disappears when people are seeing a whole image on it whilst the image itself is not present when they are focusing on a material painted on a canvas. In other words, material does not exist from one perspective and image does not from the other one in the same painting. I would regard painting as such phenomenon based upon these “non-existences”. By exploring in-between process of finding materials and representing motifs, a subject of my painting is intentionally up in the air with avoiding a distinctive voice so that people may have space to reflect upon. They may have to seek a theme of a painting more proactively in the in-between process than usual and may occasionally have to make up their own one from what they find in the space.
Looking into our daily spaces, I think that “non-existence” could be also found in architecture. Structure is not the architecture itself. A structure that we can recognise in architecture is meant to create the inner space for our activity but is not to be its objective. What is aimed for architecture is literally an invisible space. More precisely, a structure within a building primarily needs to be supporting so as to achieve spaces. In that sense, the concept of architecture is similar to the relations of “non-existences” within my artworks, which is an “invisible” matter supports “visible” one and vice versa.
In a process of degradation in architecture, structure and space are transformed into an inseparable solitude by time and weathering. The meaning, the function and the relationships within a building are eventually deconstructed into something ambiguous. Then, we lose the words representing it. What is newly created at that place is only the process of re-interpretation.
Recently, I have been attempting to utilise this kind of nature in architecture for my painting. When I was walking on a mountain, the existent showed up there. At first I couldn't recognise what I had seen on the mountain. After I came across another one, I found it to be a very small hut which was built for a herdsman to take shelter at night. The hut seemed to be built upon the assumption that it would eventually rot away and seemed light and weak as if each part of the building processes had been left unfinished. In a sense, the hut was standing under the process of both creation and decomposition and was gradually becoming a part of the existent surroundings. There were no words given at that place anymore and my proactive interpretation was the only way to reactivate the sense of the space and its world.
When it comes to my works, I am aiming to reorganise the combination of brightness, tone and texture in the scene that I have actually sensed at such a delicate place as a hut on the mountain. This re-visualisation process enables me to create an imaginary reality in relation to the actuality. Preferably, this reorganisation of reality will be an opportunity in which visitors reconsider our inheritable recognition to our everyday life. I don’t think that such a new appearance materialises in a day but perhaps it can be gradually revealing just like the small hut on my travel.
Mitsuhiro Ikeda
I am thinking about the place where we proactively change the way of our involvement and awareness to the world.
To put colours and materials on canvas is not what a painting radically is, and neither is a representative image on canvas. In fact, materiality on a painting momentarily disappears when people are seeing a whole image on it whilst the image itself is not present when they are focusing on a material painted on a canvas. In other words, material does not exist from one perspective and image does not from the other one in the same painting. I would regard painting as such phenomenon based upon these “non-existences”. By exploring in-between process of finding materials and representing motifs, a subject of my painting is intentionally up in the air with avoiding a distinctive voice so that people may have space to reflect upon. They may have to seek a theme of a painting more proactively in the in-between process than usual and may occasionally have to make up their own one from what they find in the space.
Looking into our daily spaces, I think that “non-existence” could be also found in architecture. Structure is not the architecture itself. A structure that we can recognise in architecture is meant to create the inner space for our activity but is not to be its objective. What is aimed for architecture is literally an invisible space. More precisely, a structure within a building primarily needs to be supporting so as to achieve spaces. In that sense, the concept of architecture is similar to the relations of “non-existences” within my artworks, which is an “invisible” matter supports “visible” one and vice versa.
In a process of degradation in architecture, structure and space are transformed into an inseparable solitude by time and weathering. The meaning, the function and the relationships within a building are eventually deconstructed into something ambiguous. Then, we lose the words representing it. What is newly created at that place is only the process of re-interpretation.
Recently, I have been attempting to utilise this kind of nature in architecture for my painting. When I was walking on a mountain, the existent showed up there. At first I couldn't recognise what I had seen on the mountain. After I came across another one, I found it to be a very small hut which was built for a herdsman to take shelter at night. The hut seemed to be built upon the assumption that it would eventually rot away and seemed light and weak as if each part of the building processes had been left unfinished. In a sense, the hut was standing under the process of both creation and decomposition and was gradually becoming a part of the existent surroundings. There were no words given at that place anymore and my proactive interpretation was the only way to reactivate the sense of the space and its world.
When it comes to my works, I am aiming to reorganise the combination of brightness, tone and texture in the scene that I have actually sensed at such a delicate place as a hut on the mountain. This re-visualisation process enables me to create an imaginary reality in relation to the actuality. Preferably, this reorganisation of reality will be an opportunity in which visitors reconsider our inheritable recognition to our everyday life. I don’t think that such a new appearance materialises in a day but perhaps it can be gradually revealing just like the small hut on my travel.
Mitsuhiro Ikeda
