Special Exhibition "Idemitsu Art Award Artist Selection 2025"

There are landscapes that suddenly appear before me after going through various processes. At times they hint at the presence of others, and at other times they seem to reflect society or what lies deep within the soul.
I feel that the images produced by lithographs have something in common with the "quality" of such landscapes.
This may be due to the irreversible nature of printmaking, which means that once something is drawn it cannot be easily erased.
"Perhaps no new images will ever appear in this world again." Despite this premonition, he continues to create today, as if he is drawn to something he finds.
In today's world, where we are overwhelmed with images that have a "manipulable" quality, I am instead guided by their "inoperability."

From the position that "time does not actually flow; it is merely the sum of gravity and the kinetic energy of objects that is conveniently called time," he creates paintings, sculptures, installations, videos, and other works that link events to the structure of time and space.
It's not that the snow melts because time passes, but rather that we know the passage of time because the snow melts.
I often wander around the act of drawing, remembering things that I have seen but that are no longer in front of me and that I can only relate to by remembering them. However, for this painting, I also drew things that no one has seen but that I have experienced by reading them, such as "the exterior of the train my friend was riding" and "my profile as I speak on the phone," written in my friend's diary (on a snowy day). I cannot see my profile directly in the three-dimensional space-time in which I live my daily life. But I can draw it. The winds that turn the pages of the painting, which was created by traveling through space-time, blow in all directions as I wrote the events I depicted in my diary, then painted the pages of the diary on the surface of a ceramic piece and fired it, and then painted that ceramic piece into a painting.

People live in a continuous space. There is no point in fearing discrepancies, and I hope for a world where we can understand that there are discrepancies. I don't want to neglect all kinds of observations. When a collection of experiences spreads into any space, an indefinite landscape appears as an image. That landscape is a state of monism in which everything, including myself, is linked. If it looks like a landscape even if the perspective and contrast of perspective are broken, then a landscape that only has lines (like surfaces) and holes (like) perfect circles is also an indefinite landscape. It's just that the way of proposing it is different. In this way, I express abstract paintings that look like landscapes and landscapes that look like abstract paintings. No matter what the form is, no matter what the object is, I just apply paint to the screen, give it mass, believe in the illusion, enjoy it, suffer, and present it before my eyes. I also always leave a margin on the canvas. It's like making the end of the painting (image) clear and saying that reality begins here (the margin). In other words, while pointing to "here," the infinite and the finite overlap inside and outside of it. I am always somewhere.