Daichi Fukushima

What interests me about basic images is whether they can be seen well or not. Forms are extremely thin and shift easily, so the shapes I want to show well, I hold in place from the outside. The inside stays thin, and a shape that can be seen well comes about. That difference in thickness.

The structure of a painting, ? supposing there are elements that make a painting hold together, composition and so on, they play roles like you get pulled over here, there is weight here, the eye will probably move like this, and through them the painting acquires a surface construction that delights the eye, I think, but then, the painting's function of representation, when real things are rendered convincingly, seen at that level, painting is working to represent real things, but at the same time the things rendered there are there for the sake of the elements that make the painting hold together, as I said, and I think that state is good

A painting of a napa cabbage is partly for depicting the napa cabbage, but it exists to make a painting using the napa cabbage. Using the motif, using the motif's shapes and colors, I make a painting. Thinking about the painting that a motif, one that ought to be chosen for the painting or one I want to paint, can best make that napa cabbage looking as if it is there and at the same time becoming the construction of the painting.. (but it has to be fun, you know)

Well, you could also say that the structure of a painting mimics things that exist in the world, but at least that's not how it started. So, something like a table, laying things out and thinking about their shapes and arrangement, that's very much like painting, you see. I love landscapes, but I can't make them into paintings yet.