Idemitsu Art Award 2023 Grand Prix Winner Interview

The reason for applying is that you can see the actual item and judge it, the application requirements are up to the size of S100 canvas (162.0 x 162.0 cm), and each person can submit up to 3 items. I myself like to create 100-size paintings, and from the works I have drawn, I have selected three pieces, M (162.0 x 97 cm), F (162.0 x 130.3 cm), and S (162.0 x 162.0 cm), and the color and color. I selected and applied for the ones that each had different merits, such as content. I thought it would be a comprehensive view, so I chose it to show the breadth of expression.

─ So you originally painted large works?

yes. I didn't draw it to enter a competition, but when I thought about submitting it to a competition, I thought I could submit it because the work I had already drawn met the requirements. Size 100 is easy to handle because the long side is about the same as your height, and size 200 starts to feel “big” to me.

─ All three of Mr. Takahashi's works made it to the second round of judging, and it seems that the Grand Prix work left the strongest impression. What I just said makes it clear that I took on the challenge of competing in the midst of constant production on a daily basis.

No, I don't have any memories or messages to write about. I can't compose a painting from images alone, so I usually look at photographs I've taken myself to create a sense of reality. At that time, I only use parts that seem interesting as a picture and change them from the actual thing.

─ The composition uses building structures such as walls and pillars to divide the screen into two left and right. The motif is mysterious, but how did you choose it and how did you compose it? For example, on the right side, there are some people who are clearly drawn and others who are almost just outlines. Also, countless particles are drawn on the floor.

As the title “Indoor Rhythm” suggests, the theme is rhythm, so if you can clearly see the difference in people's drawings and the slowness and speed, I think this painting is a success. I remembered that there were accessories made from beads among the items at the bazaar, and it wouldn't be interesting to draw them as they were, so I incorporated them into the floor.

I have also used small animals in other works as well. I decided to draw a video I saw on Instagram or YouTube that day, and that day I saw a video of a Samoyed. There is a man holding a koala in the lower right corner, and I saw a video of a koala that day (lol). There's no reason, it's just timing. The left side is weak, so I thought the picture wouldn't hold up unless there was an interesting shape, so I drew a dog on top, and this time, the bottom was weak, so I added a spiral. It was created by adding to the drawings like that.

I draw a rough sketch first, but once it's completed to a certain extent and I put it on the canvas, I end up just carrying out the sketch, so I think it's best to not make too many decisions and just watch the progress as I complete it. I'm thinking about it and doing it.

─ So, how do you apply the colors?

First, decide on just one color and paint the wide area that looks the strongest, then match the colors from adjacent areas using your own rules. For this work, I first painted the left half of the floor blue, then painted the area near it yellow.

─ You also change the way you apply it. The upper left corner of the curtain is covered with a thick layer of paint, and the area below it is left unpainted, leaving only the lines drawn. Don't you mean that you want drawing (paintings that mainly involve lines) and paintings (paintings that mainly involve applying paint) to coexist on one screen?

I receive similar feedback from teachers at my school, but I don't feel that way myself.

I value the balance between concrete and abstract. I want to be able to have the best aspects of both coexist in my paintings, without relying too much on one side or the other.

I've never had a solo exhibition, so I'd like to do it in a good place. Also, since I have never left Japan, I would like to apply if there is an opportunity for overseas training. I would like to go to France or England.

─ Please give a message to those who will apply for the “Idemitsu Art Award” from now on.

Two-dimensional works have a quality that cannot be appreciated until you see them in person, and I think the appeal of the “Idemitsu Art Award” lies in the fact that the actual works are judged. I myself didn't expect to receive an award, but you won't know until you submit it, so I'd like to submit it first, and if I receive feedback, it will encourage me to continue producing.

─ In your case, it might actually be a good thing that you weren't thinking about awards. What does the competition mean to you, Takahashi?

I think it's something that comes from people who want to continue producing. Even if you make good work, you won't be able to continue if no one sees it, so I think it's important to release something as a great opportunity for people to see it and as a way to pave your own path. Now that I'm in graduate school, I have a place secured and people are looking at me, but after I graduate, I have to work hard on my own. I think it has great meaning for such students as well.

─“To continue producing” is a very honest phrase. Do you ever want to be a writer like this, or do you want to try something like this because of the prize money?

I want to continue without straining myself, so I would like to use the prize money to continue producing after I graduate.

─ Information tends to be centered around Tokyo, but I think the Idemitsu “Art Award” is an opportunity to shine a light on artists who continue to create with roots in the region. I look forward to seeing Mr. Takahashi's future endeavors.