| Keiichi BANDOH |
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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. |
title: subtle lines 1996(circle around) |
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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.
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title: subtle lines 1996 material: center - paper, right - acrylic on canvas, left - acrylic on wood |
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title: subtle lines 1996 (runnng horse) material: acrylic on canvas |
title: subtle lines 1996 material: acrylic on wood |
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title: subtle lines 1996 (left - trustworthy right - trust and pissed off) material: acrylic on wood |
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