White Frame

White Frame

While it's natural to be interested in the image itself,

I'm also interested in the structure behind the image.

When the underlying material behind the image changes its existence, begins a dialogue on the foreground, and gives birth to a new existence,

the underlying material must be more beautiful than before.

I see events on the support of a painting as synonymous with human events—thought, sensation, emotion, mood, reason, history, spatiality, consciousness, color, body, nature, personality, etc.

It's, so to speak, a vivid model of the relationship between events and life.

ホワイトフレーム

画面に興味があるのは当然ですが

画面の裏の構造に興味があります。

画面の裏の基底材が存在を変えて、画面の表舞台で会話を始め、新たな存在を生み出す時、

裏の基材は以前にもまして美しくなければなりません。

絵画の支持体での不思議を人間としての驚異それは思考、感覚、感情、気分、理性、歴史、空間性、意識、色、身体、自然、人間、、、と同義と知覚。

言わずと知れた出来事と生命の関係のモデル。　

今井英人