木漏れ日 2018 (FACE展 2019)
Komorebi 2018 (FACE Exhibition 2019)



木漏れ日s19-1 2019 (ギャラリーアートポイント,2019)
Komorebi s19-1 2019 (Gallery Art Point,2019)



左:損保ジャパン日本興亜美術館 (東京) 2018.3月
Seiji Togo Memorial Sompo Japan Nipponkoa Museum of Art (Tokyo) 2018.March
右: クロスドック晴海 (東京) 2018.秋
CROSS DOCK HARUMI (Tokyo) 2018. autumn

本作「木漏れ日」は,FACE2018(損保ジャパン日本興亜美術館)を来訪された大塚太郎さん(大塚倉庫株式会社代表取締役会長)のご厚情に預かりました. 本作の展示空間となっている大塚倉庫本部クロスドック晴海ビルは, TBS系ドラマ『グッドワイフ』(常盤貴子さん主演2019年放映)のロケ舞台ともなり, 「木漏れ日」はドラマの数々のシーンに登場する厚遇に恵まれました. ここに心からの謝意を述べさせていただきます.



木漏れ日 2016-17 (FACE展 2018)
Komorebi 2016-17 (FACE Exhibition 2018)



木漏れ日16-VI 2016 部分(コバヤシ画廊,2016)
Komorebi 16-VI 2016 part(Kobayashi Gallery,2016)




I sometimes produce my works by using part of my played-up-pictures on the Web, which has lasted several years now.

People are inclined to believe images on the Net, even if they are often fabricated.  I think this is likened to the famous story of Karma in Zen Buddhism: People with Karma believe the moon reflection in water not in the sky is the genuine moon.  You all have Karma more or less, which entices you to see things wrongly. 

The images incessantly coming up on the Web seem to me the display of Karma of our society. Watching the images, I come to recall the late works of Monet, Impressionist: he repeatedly painted the reflection on the pond in his Japanese style garden.

Painters finish their works by facing, observing, and struggling with the motifs they find in the course of living.

Likewise, not a few painters today, utilize the various plentiful pictures of artists on the Web and surely produce new-style paintings.

Against my intention, I see my works on the Web, as if splashed on the screen like fractions.  The world Web, like reflection in water, is probably not genuine, however, I am not sure where the real genuine world is and which my works belong to. They look intertwined and I feel my works are just ripples in water.

Monet might saw himself in tiny lotus flowers which he successfully painted among the transient stream of changing colors.   I could imagine that Monet was in journey of bliss.

For my work at the Spectrum Exhibition 2019.12.8 

左: 木漏れ日15-1 2015(ギャラリーアートポイント,2019)
Komorebi 15-1 2015(Gallery Art Point,2019)
右: 木漏れ日08-VI 2008 部分(コバヤシ画廊,2008)
Komorebi 08-VI 2008 part(Kobayashi Gallery,2008)




確かに,自身の作品は一種の “fraction=端数” となってウェブ上に散乱するし,一方,ウェブ世界は現実を映す鏡,つまり,水面と同様の“虚の世界”なのだろう.




木漏れ日17-IV 2017 (コバヤシ画廊,2017/スペース・ゼロ,2020)
Komorebi 17-IV 2017 (Kobayashi Gallery,2017/Space Zero,2020)



木漏れ日 15-III 2015 (陶陽庵、2015)
Komorebi 15-III 2015 (Toyoan,2015)