藤原裕策 個展   FUJIWARA Yusaku  solo exhibition   “Still waters run deep”     2011年10月15日(土) - 11月5日(土) October 15 - November 5  2011   オープニングレセプション 2011年10月15日 18時頃〜 Reception for the artist October 15 18:00 -

藤原裕策の作品は、版画用の板に、まずアクリル絵の具で着彩して乾いてから、彫刻刀でフォルムを浮き出させる という技法によって出来上がっている。色や形を上へ重ねていく通常のペインティングとは逆に、一度塗った色面をどんどん削り取ることで、色や形を成り立たせていく。



Yusaku Fujiwara’s work are made with a special process, first, he paints with acrylic paint on the wood plate for engraving, and once it dries, he carves the forms of the artwork with a chisel.
Contrary to normal painting, in which the colors and the shapes are superimposed one on the other, he shapes the forms and colors by scraping the once painted surface more and more. In the artist a painter and a sculptor lives together. Once the carving starts, no colors are added.
Rather than laying in logic for the preparation of the work, he traces a process of creation based on improvisation mainly through all the painting and carving phases, though before starting to move the brush, he has already an idea of the goal to pursue.
I suppose this method full of expression is very meaningful in the pursuit of what Fujiwara calls ‘the attraction of what cannot be clearly confirmed or visible’.
As the story about Michelangelo that said ‘it is just retrieving the person who is buried inside the marble’, maybe the forms that the artist sculpts are just things or people that are carved back from the flat surface, and the work of the sculptor is just taking them back to the physical plane.

The works of this exhibition, though combining the elements of a painting and those of a sculpture in the frame, has in addition line drawings by brush and chisel, that with the finest technique gives the work a powerful touch and variation.
And of course, this solo exhibition is strongly aware of the state of a ‘great power that includes in itself life, death and everything’.

I want to find out the mission of the artist Hiroshi Fujiwara, an artist that carefully scoops up instants, events, and abstract expressions from this complex and big world, and gives ‘new shape’ to the aesthetic sense of the modern Japanese.