Different kinds of approach in new circumstances
I have, however, changed my process since I have been in new surroundings because I intended to make larger works with a new approach.
Since 2013, I have been using pixels, like some pixel art by Chuck Close .
In this way, I tried to make some pixel art by cutting up paper of six different shading grades into 1cm squares.
There is a similar feature between these works and my previous printmaking, although I have tried to change my techniques. For example, all of these consisted of some shading grades. Furthermore, both are labour intensive work. I believe, unconsciously, I am keen on this type of intensive work. Through this process, I am likely to have a desire to escape the real world. Of course, I tried to look for something connected with original printmaking. That is why I tried to use pixels and pointillism.
Chuck Close, SELF-PORTRAIT,
Spit-Bite Aquatint, 52.1x40cm, 1988
An idea about people
While doing this, I was inspired by some masterpieces of Pieter Bruegel and Hendrick Avercamp at the museums in Belgium and in the Netherlands. Pieter Bruegel and Hendrick Avercamp were artists, roughly 450 years ago. What I saw at the museum was about people. In the pictures, many people are on the ground.
At present, there are a lot of people from every country in London. If you walk the streets of London, jostling with the crowds is a daily occurrence and sometimes, you have to wait for a while in order to enter the underground. One of the things that cannot be performed in London is to walk alongside three people. People’s lives in this era seem to be similar to people’s lives in the past even after 450 years.
<- Pieter Bruegel, The battle between carnival and lent,
1559, on panel, Kunsthistorisches Museum, Vienna
-> Hendrick Avercamp, Winter Scene on a Frozen Canal,
36.8x65.4cm, Oil in panel, 1620, Los Angeles, Los Angeles County Museum of Art
Anonymous without the background
I have tried to express these people as a mosaic. I had to make a decision with respect to the background in order to produce a mosaic work. Eventually, I chose a different way to prevent it being a typical mosaic art or pixel art. That was to erase the background.
This attempt was inspired from a film, called Dogville . I tried to represent people in the absence of a background such as actors acting as if there is a building, where there are not any buildings. Likewise, I was inspired by a picture which is about destroyed buildings by military conflict.
Lars von Trier, Dogville, A film, 2003
A picture of military conflict area
A giant’s-eye view
I have thought about bigger sizes of work. I have started to find some references about giants in art history. It dates back 250 years to the masterpiece of Goya.
While I looked for some reference, I have found that some works about giants are connected with my original prints. That is that my most of prints have a bird’s-eye view. Subconsciously, I seemed keen on an aerial view to make prints because this view of bird-watching makes me feel like I am a giant.