Home of Masaru Takano - 高野勝

瞬間にある永遠のもの・・・
日本画を学ぶ多くの人が岩絵具の魅力について語っていますが、私はあまりそれを感じた事がありません。むしろ紙の魅力が私を惹きつけます。ゆえに絵具は紙の特質を生かせるものであれば何でもよいと考え、従来の古典的な日本画の絵具や墨などに加え近年開発されたアクリル絵具なども併用しています。今使用している紙は楮(こうぞ)という木の皮から作られた和紙で私の絵の制作用に特別に厚く漉いてもらっているものです。決して具現化されることのない瞬時のイメージを絵という二次元に転写しようとする為、何度も描いては洗いまた描いては削るという行為を繰り返すからです。そのため通常の厚さのものではもたないのです。最初のイメージ『原初の記憶』により近づくために・・この過程で紙の裏からじんわりと染み出してくる色がたまらなく美しあったり紙の漉きむらが思わぬ効果を生むこともあります。こうした発見が新しいイメージを駆り立てたりもします。そして生まれた絵画がここに発表したものです。

Although many people who study a Japanese painting are telling about the charm of paints (rock paints), I have seldom felt it. Rather, charm is felt for paper.Therefore, paints will use together water-soluble things, such as acrylics paints which considered that anything was good and were developed the paints of the conventional classic Japanese painting,sumi, etc. and in recent years, if the special feature of paper can be employed efficiently. I have the paper currently now used as canvas specially made for work of my picture thickly with the Japanese paper made from the bark of a tree called a KOZO (like this). It is because the act of washing if it draws repeatedly, and deleting if it draws again is repeatedly repeated in order to transfer the momentary image never embodied to two dimensions of a picture. Therefore, it is because it does not have in the thing of the usual thickness. It is work required in order to approach by "first memory" which is the first image. There may be a color which oozes out little by little from the reverse side of paper in this process beautifully intolerably, or the unequal nature of paper may induce an unexpected effect. Such discovery drives an image new again. And the produced pictures are announced here.