木漏れ日 17-s1 2017 (コバヤシ画廊 2017)
komorebi17-s1 2017 (Kobayashi Gallery 2017)



木漏れ日 17-s3 2017 (コバヤシ画廊 2017)
Komorebi 17-s3 2017 (Kobayashi Gallery 2017)



木漏れ日 Ⅲ 2017 (東京ガーデンテラス紀尾井町 2017)
Komorebi Ⅲ 2017 (Tokyo Garden Terrace Kioi-cho 2017)


左: 木漏れ日 2017 (ホテル ロッテアライリゾート 2017)
LEFT:komorebi17 2017 (Hotel Lotte Array Resort 2017)
右: 木漏れ日 18-1 2018 (トロワフレーシュ 2018)
RIGHT:komorebi18-1 2018 (Trois flèches 2018)



木漏れ日 17-s4 2017 (コバヤシ画廊 2017)
komorebi17-s4 2017 (Kobayashi Gallery 2017)



木洩れ日(瞳)2011 (コバヤシ画廊 2011)
komorebi(pupil) 2011 (Kobayashi Gallery 2011)



木洩れ日08-X 2008(コバヤシ画廊 2008)
Komorebi 08-X 2008(Kobayashi Gallery 2008)



木漏れ日14 -2 2014 部分(コバヤシ画廊 2014)
komorebi 14-2 2014 part (Kobayashi Gallery 2014)


Children like drawing the sun.
However, as they become older, the sun disappears from their drawings and pictures.
There is a theory that children put in the sun as an indispensable element of the sky. But I don’t think that’s the only reason.
Van Gogh brushed in the sun frequently. In his masterwork “the tavern where you can see a billiards table”, I feel the sparkling lamp of Sulfur Yellow is “a sun” in the room for him.
With such an impressive“sun” in the background, every time I look at the masterwork as if I am a lost child and mistakenly open the door of the tavern at night and see the front-facing waiter…I feel guilty and creepy, Incidentally, the front-facing waiter mentioned above reminds me of Munch’s upright portrait.
Munk painted the sun, too. His large mural with the sun in the center at Oslo University was criticized as mundane and boring by a famous critic Kenneth Clarke.
The well-known “Guernica” by Picasso had the sun in the center, I hear. But Picasso turned the sun into a lamp during the production, by which the brutality became even fierce, heard and felt in a sealed room. In “Guernica”, I feel the same smell as in “billiards” by Van Gogh; the aerial bombs seen by innocent children and the sun was reworked into the lamp….
A while ago, I anxiously wanted to paint the sun and I did.
The sun is the only root of light and all beings on the earth, and for the artists, the source of motif. It is dreadful to know that in the distant future the sun eventually will swallow the earth. However, for the long time being, the sun is and will be the motif with a tremendous potential for me.
[Kimata Soushi 2017. 9. 2.]

[木俣 創志 2017. 9. 2.]

コバヤシ画廊(東京) 2014 .11月
Kobayashi Gallery (Tokyo) 2014. November


左:木洩れ日s13-Ⅲ 2013 (コバヤシ画廊 2013)
LEFT:komorebi s13-Ⅲ 2013(Kobayashi Gallery 2013)
右: 木洩れ日の栞Ⅱ 2011 (コバヤシ画廊 2011)
RIGHT:A bookmark of komorebi Ⅱ 2011(Kobayashi Gallery 2011)


木洩れ日08-Ⅸ 2008 (コバヤシ画廊 2008)
Komorebi 08-Ⅸ 2008(Kobayashi Gallery 2008)

アンリツ株式会社 グローバル本社エントランス (神奈川) 2015 .7月
Anritsu Corporation Global Headquarters entrance (Kanagawa) 2015. July

木洩れ日 I-L 木洩れ日I-R 他12点 2016 (さいたま赤十字病院 2016)
KomorebiⅠ-L KomorebiⅠ-R 12 other works 2016 (Saitama Red Cross Hospital 2016)