Artist Statement 2
Painting of face / Face of painting
Until now, my thematic subject is 'face'.
When I was completely unable to draw paintings, I had put oil paints on a canvas with my agony as a kind of an easy planless abstract painting. Thereupon always something liked a 'face' appeared there.
Through this experiences, I can see by intuition that it is a quite essential resemblance between painting and face.
There are lots of interesting similarities between 'face' and 'painting'. Firstly, the surface of both of those have strong visibilities which can catch eyes of people for many hours. Secondly, they include some life(=some story), however they exist as objects. In other words, contents and form coexist harmonious. Lastly, those things have a double entendre as both as spiritual 'mind' and physical 'body'. Or it is possible to express about those points of common that there are intermixable situation with 'Actual' and 'Reality' from a view of clinical pathology of Jungian therapy as well.
In this way,such many overlaps of my images between face and painting link to Frank Stella's remark about 'The Flaying of Marsyas' by Titian; 'Canvas is just like skin'.
Surely Marsyas who is being skinned, exposes his acute pain, at same time it is look-alike for a cloth which is being stretched into painting.
It also agrees with Louise Bourgeois's word as well; 'Pains are redemptions for form.'
However my work doesn't mean a traditional 'portrait' at all. I have a strong doubt that we can believe to reproduce existent person into a painting. Also I do fear dangerousness it lose 'resistance' and 'Autonomie'(=autonomy) owing to artists not seeing painting's self as object but just contents of sitter.
So faces in my paintings which come from images which are found pictures of quotidian magazine,films and web sites, are isolated from original form of models,frequently they do not focus into an image of human's face, or vanish eventually. By such an expression, 'face' in painting and 'face' of ours as lookers(spectators/viewers) are prevented from staring at each other. It is an important element to painters that we have our doubts about seeing .