左:木漏れ日23-Ⅲ(部分) 右:木漏れ日23-Ⅳ 2023 (『花々展—光の庭—2023』2023 北川村「モネの庭」マルモッタン,高知)
LEFT:Komorebi 23-Ⅲ(part)RIGHT:Komorebi 23-Ⅳ 2023
(Flowers Exhibition – Garden of Light 2023 ,2023 Jardin de Monet Marumottan au Village de Kitagawa, Kochi)   



木漏れ日・慟哭(05-19) 2019(FACE展 2020)
Komorebi,wailing(05-19) 2019 (FACE Exhibition 2020)


木漏れ日17-I 2017 Komorebi 17-I


コバヤシ画廊(東京) 2017 .9月
Kobayashi Gallery (Tokyo) 2017. September


Passing through 2005 162.2×130.3cm (部分)
コバヤシ画廊 Kobayashi Gallery 2005 (parts)


木漏れ日21-Ⅰ 2021(コバヤシ画廊 2022)
 Komorebi 21-I 2021 (Kobayashi Gallery 2022)


Remm Hibiya (Tokyo) 2007. December










[2020.12.27. 木俣 創志]

「FACE2020」SOMPO美術館におけるトークセッション [2020.2.14]
「INFINI vol.7」スペース・ゼロにおけるギャラリートーク [2020.12.20]


When art works find ‘light’again

“Komorebi”- literally means ‘sunbeams streaming through the leaves of trees’ but does not have the equivalent word in English- has been one of my main motifs for more than 20 years.

In “Komorebi”, I express ‘light’as the metaphor of ‘hope’, and as ‘hope’is  fiction, I should convey‘my will’. Perhaps this is the reason I paint‘light’directly all by myself.

For almost all the other part of “Komorebi”works, I use photoengraving(silkscreen) to show the real world as it is.

One reason for it is that I once realized the silhouette of plants against the background of sky are too beautiful to depict by hands.  The other one which is more important, is that leaving the other part printed out by silkscreen is the best way to emphasize ‘light’ of my own painting.

These two contrasting expressions:  light versus shadow, my will versus real world, my own painting of ‘light’ versus photoengraving of concreteness, ground versus diagram, are confronting each other, and generating something appealing on every canvas, sometimes far beyond my expectations.  This process itself seems to have been the aim of my works.

I now utilize airbrush handpiece to depict ‘light’, though I used to use paintbrushes before.‘Light’ painted by the tool never lessens the beauty of the plants silhouette as if nestling to it, which is the big difference from the one by paintbrushes.

In addition, with the tool, ‘light’ expressions can be up-to-date, cool, subtle, and sad, which largely vary from those completed by the Impressionists.  I feel with the airbrush handpiece I can see much more room for the further depiction, and that will continue to make it possible for me to work on “Komorebi”.

[2020.12.27. Kimata Soushi]

Talk Session of “FACE2020” at Sompo Museum of Art [2020.2.14]
Gallery Talk of “ANFINI” vol.7 at Space Zero [2020.12.20]
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太陽光が通過(passing through)した木の葉などの自然の形姿は、シルエットとしてそのディテールが省略され,平面化する。





[2016.10.20. 木俣 創志]


When a painting is conscious of “light”

Natural shapes such as the leaves of trees which sunlight passes through are silhouetted and their details are omitted and flattened with human eyes.

In the last century, paintings themselves have acquired new lives by awareness of the flatness themselves, but in the planarization in which the illusion illuminated by flattening dazzling light like sunlight in the natural world, there is no process of planarization, or “act” of planarization itself. Because such an illusion depends on the mechanism of human eyes and is established a priori.

Isn’t this “planarization of no intentions” the most coincident with the methodology of my creation?

Like the trees that tremble in sunlight through the sun, shapes of things exposed to light, find a literary meaning to themselves. However, seeking light also fulfills extremely formative necessity.

Here, there are so many opportunities and possibilities that are basically different from any “flattening” that has been ever explored.

[2016.10.20. Kimata Soushi]