Rock pigments are born from minerals hidden deep underground.
It is a natural memory created over hundreds of millions of years and is the source of color.
I place those memories, grain by grain, on the screen.

All the materials used in Japanese painting are of natural origin.
Mineral pigments, Japanese paper, glue, brushes - although these are art materials, they are not simply tools.
It is now in my hands as proof of "collaboration between nature and humans."

The act of painting a landscape is an activity that quietly questions the relationship between people and nature.
The texture, weight, changes in light, and fluctuations of mineral pigments.
Uncontrollable randomness imprints "natural time" into the work.

The more I draw, the more the boundary between nature and myself becomes blurred.
The colors blur. The brush trembles. The particles take on a glow.
All of these are one "form of relationship."
The countless dialogues between me and nature emerge in my works.

This exhibition will explore the process by which minerals born from the earth become "light" through time, technology, and the senses.
I want to visualize it.
Ultramarine was once considered to be as valuable as gold and was used to paint temples and folding screens.
It was collected from deep within the earth in Africa and Asia and passed through many stages of human hands before reaching me.
Rock patinas. They're not just a color.
That single grain placed in the landscape will awaken memories of nature that lie dormant within the viewer.

From earth to light.

I am not recreating nature.
I am exploring how to coexist with nature.
He envisions a future where people breathe together, listen together, and engage in invisible dialogue.

In other words, it is not a nostalgia for the past, but a question for the future.
Even in these uncertain times, I continue to search for forms of "connection" that can be preserved in paintings.

• Planning and Organizing

  Whiteatone Gallery Karuizawa

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