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I intend to make various relationships created between things (paintings) and humans (viewers) by treating materials, contents, and exhibition methods in parallel, and thereby extract the energy of the things. The observation and understanding of complex natural structures are important to me. 


Plants and painting are very similar. When plants shake in the wind and leaves and shadows tremble, or when you follow the intertwining of complex plants that stretches everywhere while going back and forth, there is almost everything that you need for painting. When it’s drawn or painted, leaves and shadows become the same material - paint, and when oil paint seeps into paper, the lines that move back and forth become inconsistent somewhere, creating a space that is nowhere else. And then, finally, the painting begins. Developing the picture in the picture is supposed to be more and more plant-like, although the shape and color should be away from the original plant.


Our senses tremble while paints go in and out of the picture. The human being receives the energy of the picture (the material, space where the picture is drawn, space where the picture is displayed), and the humans change the way the picture is viewed. I think that the wind blows in the picture like a plant swaying in the wind due to the tremble of the senses born in that activity.


 “Tremble of existence" -paper can be so described. It comes from the characteristics of paper that are everydayness, fragility, and the fact that strongly influenced by the environment, such as that of Jean-Luc Hennig, who described grey as “tremble of color." I am interested in the fact that this paper material makes various relationships between picture and viewer while deforming in various ways. The relationship between the picture and the person will vary greatly depending on the exhibition method. An exhibition is an act of giving artworks the certainty of existence why it has to be there, and for me, it is part of the production. 



Asuka Miyahara









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