フェンスと木洩れ日 2004 (コバヤシ画廊 2004)
Fence and komorebi 2004 (Kobayashi Gallery,2004)



溢れる光 2001 (コバヤシ画廊 2001)
Overflowing light 2001 (Kobayashi Gallery,2001)



フェンスと木洩れ日 2004 (コバヤシ画廊 2004)
Fence and komorebi 2004 (Kobayashi Gallery,2004)



黒いフェンス 1996 (CTIウインドゥギャラリー 1997)
Black fence 1996 (CTI Window Gallery 1997)



森を駆ける 2001 (コバヤシ画廊 2001)
Run through the forest 2001(Kobayashi Gallery,2001)



無題   2009   (コバヤシ画廊  2009)
Untitled  (Kobayashi Gallery,  2009)



光と陰 2004 (コバヤシ画廊 2004)
Light and shadow 2004(Kobayashi Gallery,2004)



木漏れ日 2004 (コバヤシ画廊 2004)
komorebi  2004(Kobayashi Gallery,2004)



コバヤシ画廊(東京) 2004 .6月
Kobayashi Gallery (Tokyo) 2004. June



Things that should not be named (2)

My production begins with looking at nameless uninteresting stuff.
I am not doing it on purpose nor following any ideology nor principle assertion. However, among such uninteresting images, there is always something attracts my eyes for some reason, which remains clearly somewhere in the mind. Then, as if exploring to the edge of this world, it shapes and develops.
Why does the dullest stuff transform into the most “interesting” motif?
I squeeze out the reason, and work out my paintings only with such a simple motive.
The moment when a person is really moved might not come from dramatic images nor effective sounds but from the most common daily scenes that cannot be named.
Considering calmly, this might be a paradox to us who are surrounded by all sorts of “dramatic images” and “masterpieces” in which modern technique and discretion are omnipresent.

名づけてはいけないもの (2)