Keiichi BANDOH studio Shokudo

The Autonomy of the Painting

All paintings are things, subjects, a replacement of something in everyday life. In my paintings, there is a trend of starting the foundation for many of them from drawings, sometimes reconstructing them based on photographic expressions, and concentrating from a phenomenon having various aspects into one "fragment". This makes the painted form into a sign or a mark, not an illusion, and at the same time, it is derived from a perceptual issue, an interest towards how we see a thing and understand it. This is a large factor for my creative work, and as a result, it deviates from the original image. If I could suggest an ambiguous picture including such an idea, I think it would be very meaningful.

subtle lines 1996(circle around)

title: subtle lines 1996(circle around)
material: cloths + silkscreen ink

Roy Lichtenstein had said, "I never even once painted anything three dimensional. I return two dimensional things into the two dimension. This is what I am always interested in."... His attitude strangely overlaps with my thinking towards creativity. Not to be exploited by color from a formalistic viewpoint, but arranging them in a stoic fashion. Like Lichtenstein, my interest towards this never ceases. Put in a different way, the subject of a painting does not exist in its background, but is condensed in the picture itself. I still firmly believe in the unfathomable possibility the painting possesses.


subtle lines 1996 title: subtle lines 1996
material: center - paper,
right - acrylic on canvas,
left - acrylic on wood
subtle lines 1996(running horse) subtle lines 1996
title: subtle lines 1996
(runnng horse)
material: acrylic on canvas
title: subtle lines 1996
material: acrylic on wood
title: subtle lines 1996
(left - trustworthy
right - trust and pissed off)
material: acrylic on wood
subtle lines 1996


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