NOTES

・I draw paintings using pastels.

・My daughter is often my subject.

・I don’t think that creating pastel paintings with an expressive power rivaling that of oil paintings is simply a matter of mastering the use of color. I’m also exploring other possibilities. Since I don’t use a lot of highly saturated colors, I jokingly refer to myself as a “poor pastellist".

・I don't have a fixed style; I prefer constant change so I never get bored.

・It is acceptable to have a style rooted in one's way of thinking, rather than just in technical execution.

・I always walk with my eyes on the ground, looking for a specific patch of earth to frame and draw.

・I view the place where we live as a thin membrane upon the Earth.

・The decay of objects is another form of change. I find the process of fading away to be fleeting, yet beautiful.

・A world without change would be hell; the thought of it continuing forever is unbearable.

・While completing a work is necessary, I don't want to "finish" what I am currently doing—because that would mean the end of the journey.

・Expressing basic emotions like joy, anger, sorrow, and pleasure isn't particularly difficult. However, the challenge rises sharply when trying to capture the complex feelings of accepting something despite lingering anxiety—a state tinged with resignation. It's what I want to do.

・I don’t really remember feeling much deep affection for my father when he was alive. Although he was kind to me during his final few years, he showed almost no interest in me. Thinking about him leaves me conflicted; I struggle to find a perspective that allows me to come to terms with who he was. It has been fifteen years since he passed away. I was desperate to sort out these feelings, but I wonder if art can truly resolve such matters. Perhaps I was naive. The issue remains within me.

・I often draw inspiration from my daughter's expressions; a multitude of emotions coexist on her face.

・I recently learned that when I photograph my daughter, she is usually just zoning out, thinking of absolutely nothing.

・I first encountered pastels over forty years ago. I bought them initially because I was drawn to the wooden box they came in, but once I tried using them, I intuitively felt they were the perfect medium for me.

・I’ve recently realized that pastels are a very niche medium in Japan.

・Most Japanese realist painters start with oil paints because that medium offers the greatest potential for realism.

・I started creating realistic works in pastel simply because that’s how my life unfolded. I’m well aware that I belong to a very small minority in Japan.

・There is a large community of pastel artists overseas—something I really appreciate. Many of them share their knowledge and insights with me, which is wonderful.

・The reason I only submit my work to open exhibitions abroad is that the Japanese art world differs significantly from the international scene. 

・In Japan, quite a few people come to hate art by the time they reach high school. Because everyone is judged based on whether they are "good" or "bad" at it, unconventional talent is often dismissed from the start, causing people to walk away from art altogether.

・Many Japanese people love art that has been officially endorsed or validated. Conversely, they tend to overlook works that aren't picked up by critics or featured in articles. Is something similar happening in your country?

・It was only about 150 years ago that the Japanese were first exposed to realist techniques. Compared to the history of realism, which dates back to the European Renaissance, this is a very short period indeed.

・Young Japanese realist painters possess a very high level of technical skill.

・I cannot agree with the idea of turning the act of drawing into a standardized process. It tends to lead to simply imitating someone else's method. While that might be necessary when you're young, there comes a time when you need to move beyond it.

・"The further you move away from imitating typical models, the more interesting things become"—I heard this from a friend, and I agree with it completely.

・Imitating typical models is important; emulating the magnificent achievements of those who came before us is crucial for honing one's own skills. But you shouldn't keep doing it forever.

・One characteristic of pastel is the ability to blend colors directly on the painting surface. This is incredibly significant, as it allows you to check the color balance right there on the work.

・I don't hold solo exhibitions in Japan because the necessary foundation for understanding my work isn't there. There is very little understanding of pastel, and hardly anyone has ever seen realist art created with it. In that case, viewers will likely judge my work with the same eye they use for the realism found in oil paintings. Achieving that level of intricate realism is more difficult with pastels than with oils, and I worry that this might lead people to perceive my work as lacking in maturity. If the medium of pastel gains greater recognition and appreciation, this issue will disappear—and that is something I hope to see.

・There are regional pastel associations all over the world, yet no organization in Japan is affiliated with the IAPS (International Association of Pastel Societies).

・I am an atheist. My "Vigil" series is not about worshipping a monotheistic deity; rather, it reflects an awareness of a higher existence relative to humanity and explores our relationship with that presence. It is distinct from religious belief.

・I come from a design background and never originally intended to become a painter.

・For me, painting is a way to verify my current position and serves as a personal record. It documents what interests me most—much like a diary.

・I do not accept commissions. I want to dedicate the rest of my life to my own work; I fulfilled all those kinds of requests during my time as a package designer.

・I love music. I listen to a wide variety of genres, but rock is my favorite. Lately, I’ve been really into the band The Warning.

・The double-exposure effect often seen in my work originates from a technique used in the early days of photography. Initially, I used this technique to express the duality within myself, but as I’ve repeated the process, I’ve come to sense that other meanings are emerging from it. For example, I love the “noise” that appears in images, and this technique is one way to create that effect.

・I believe most people possess a sense of duality. In my case, I often feel regret over actions taken by one side of myself—something that weighs heavily on my mind.

・The sensation created by double exposure is fascinating. The boundaries of each form become blurred, creating a feeling of weightlessness.

・In many respects, the inherent qualities of pastels put them at a disadvantage compared to oil paints. However, I love the granular texture of pastel as a powdered medium. I am thinking about how to harness this more effectively—for example, by considering how a continuous, uniform stroke can be broken down further into individual dots. A point is zero-dimensional, and a collection of them becomes noise.

・The stressful part of drawing for me is sharpening pastel pencils. I use a snap-off blade knife to sharpen them. Shaving away the wood goes smoothly, but sharpening the core itself takes time and dulls the blade. There is a great solution for this, though—a method I discovered on Instagram using a heel grinder. It’s fantastic; I highly recommend giving it a try.

・Creating realistic art with pastels isn't unusual, but the fact that it is done in pastel needs to elevate the work into something more. That is what I am exploring.

・I believe high technical skill in realism is important, but it is a means to an end, not the goal itself. This applies only to me. Of course, I can't speak for others.

・I know some people question why I draw my daughter. It isn't because I’m a doting father who adores her; it’s simply because there is no one else so readily available to let me draw them. But beyond that, I find her fascinating because she possesses such a wide range of expressions. There is always a completely different version of her within her. That is why I find drawing her interesting. Am I a doting father?

・At a certain point, I decided to stop trying to depict my daughter as “beautiful” in my paintings. Idealizing a subject is a deliberate act. There’s nothing wrong with being deliberate, but I don’t think it’s good when that intention is obvious to the viewer.

・Truth be told, I dislike pictures that are too neat and polished—though I suspect most of my own work falls into that category.

・H, a friend from my college days, would always sit right behind me, quietly working on his art. He didn’t mind if his work got a few scratches on the surface. Those scratches just became part of the piece. I’ve been thinking about this for a long time. My paintings are delicate, and even the slightest scratch stands out immediately. What exactly does this difference mean?

・When I was a child, an event called EXPO ’70 was held in Osaka, Japan. Its theme was "Progress and Harmony for Mankind." I understand the "progress" part, but how should I interpret "harmony"? And has it actually been achieved?

・My marketing experience in advertising and packaging design has influenced my painting. I’m constantly thinking about how to meet people’s needs. However, when it comes to painting, this can sometimes work against me—it leads to a sense of contrivance.

・While fine art and commercial design are distinct disciplines, they share a common goal: conveying something to someone in the best possible way.

・The relationship between advertising copy and visuals is similar to that between a painting and its title; however, advertising aims to converge on a specific vision, whereas a painting seeks to expand that vision. In both cases, I want the text to broaden the concept behind the image rather than simply explaining it.

・This thought has some impact not only on marketing concepts but also on my painting. I use a PC application to create a “blueprint” for my paintings. At this stage, I test out potential issues with color and image selection that I might face later on, so that I can resolve them right then and there. By the time the blueprint is complete, the direction of the painting is pretty much set.

・Sometimes, after I’ve started painting, I realize I don’t actually want to create that specific piece. I wonder why I didn't notice that sooner.

・I spent a long time working as a designer before moving through several other professions. Looking back, I feel every one of those experiences was necessary—though I certainly wouldn't want to go back to any of them.

・All my paintings are the same size: 50 x 70 cm. This stems from the fact that advertising materials have fixed dimensions, and this is compact enough to store easily. It’s also the minimum size I feel is necessary for the realistic style I use.

・People say, "It’s never too late to start something," but I disagree. Starting late makes it increasingly difficult to reach the level you envision. That sentiment only holds if you’re content with mere self-satisfaction.

・When I finish a painting of my daughter, I send her the image before posting it online.

・She never complains about the portraits I paint of her. When I asked why, she said, "If I complained after it was finished, you couldn't fix it anyway, right?" She’s absolutely right.

・Even when I post the paintings on social media, my daughter rarely looks at them or hits "like." She doesn't really use Instagram much to begin with. Still, she is cooperative; she probably feels she shouldn't take away her father's one source of enjoyment.

・It only takes about five to ten minutes to photograph my daughter for these paintings. I take over a hundred shots during the process. Usually, that’s sufficient.

・I’m not a perfectionist. All I can do is do my best within the constraints I’ve been given. I think that’s enough.

・I feel that advertising creative directors who act like dictators often produce better work. They remain completely oblivious to the struggles and hardships of their subordinates—or rather, they seem to relish them. I dislike that kind of leader.

・I like images that are unfinished or flawed because they offer more freedom for further work. In the process of compensating for those shortcomings, the image can transform into something entirely different. That’s why I can’t bring myself to paint from "perfect" photographs taken by a professional photographer. That is the reason I still haven't been able to paint a picture based on the photos from my son’s wedding.

・I let the initial sketch—the blueprint—sit for a day before proceeding. I do the same after finishing a painting. My perspective can shift by the next day.

・I’m currently facing a problem because Talens’ 061 Fixative, which I’ve used for many years, has been discontinued, and there is no suitable replacement. The main reason for this is the significant fading issues I’ve encountered with other products. I’m currently using mainly Degas’ water-based fixative and Holbein’s pastel fixative spray, but even these don’t fully meet my needs.

・I'll leave it at that for now.