GOING UPSTREAM TO THE BASIS

Ryoichi Hirai

  As one of the spectators who has long watched Shuichi Kitamura’s works, I would dare to make a detour before I mention them. Let us start from the topic that may correspond with his progress.

  Nowadays the popularity of discretization taken it art or not seems to lead the attention of the public to an unexpected sight. Leaving that aside, in the final analysis, the fact itself that we find it at that situation may be no more than some substitute of preceding recognition or rumination and reacknowledgement of self-consciousness. The words about it also tend to discretize as appendix of phenomena, there always remains only a sense of emptiness.

   Before that, if that attention and its gaze is the deed at the media not general but specific, moreover, if the connection with looks and things or so appears just there, is there any reason why we should pay attention to the discretization which many languages are spend without conditions as I mentioned right now? In the first place, is it possible or not? Unless it is asked simply, things will be exhausted while we are trying to read the various precede recognition. If that’s the case, there is all the more reason to make a thorough investigation into things at the canvas first of all, the media always very old and new.

  Kitamura’s investigating works on canvas in recent years can’t help giving such feelings to all the spectators. What logic does it correspond now?

contents

A Paper in front of Him

From a Vacuum to a “Verge”

The Index as “Substance”

Color Material and Idea

Reduction and Staying

A Paper in front of Him

  As Michael Fried referred to the “All over” pictures of Jackson Pollock, the charismatic leader of contemporary paintings, he dealt with the essence about these balance and plateau building exclusively from the aspect of “opticality”. Each discovered index for receptivity like this must have been shared as one of the valuable references when we judge not only Pollock’s works, but contemporary paintings in general.

  Be that as it may, this word “optic” must have some hidden meaning besides simply visual, which makes us feel intention of genuine visible abstractness.  Nevertheless, what we see in screen is naturally the crossing of color and form, and its intricacy. We acknowledge the reproducibility as the shape refers to things or matters there, perhaps we even find something emergences beyond that reproducibility. Of course there is a process we look into the screen with caution, then we are looked back by the screen as far as we can see. Thus the screen becomes an object which is given to us. This is the first trace of paints and its mode suggested on the surface even slightly. It must be the adjustment of mass which is suitably responds to its substance. Both form and color appears only at these mode, moreover, they will never be found out without various complications of perception. Even if coming up to screen only in this condition, form itself or color itself does not exist. The limitation like this is by the deduction of things as the logic of light and retina and nerve action, or by the thought operation to reject tactility from vision. That is by the direction to do so, namely, arbitrariness.

  At every paintings, we use not that medium but this one, we deal with not that technique but this one above all, then these aspects are differentiated and both practice and format are built. As for Pollock, that overflowed surface was done by his bodily brushwork as is well known with the materials taken out from his can, for example, black enamel, white and some other chromatic color paints. (“Autumn Rhythm”1950). This optical situation, the overflowed surface pretending to be flat is also tactual as you see and it is also with the reality of perception which is delicately ambiguous.

 By the way, if we put the process into the form of a diagram --- just as the relation to screen that reality of perception through technique with medium, the recognition to consider its terms and preconditions ---, we are to provide the special topos by discovering the material interface and set it up in front of us practically. The given objects as I mentioned before, it is the limitation at the other side of the topos. When we invert this, it will be the potential of this limitation.

 Our prime concern at the moment is the following; Just before I mentioned the word “opticality” as an index through the practice format of the charismatic leader or contemporary paintings and how he dealt with the screen. Unless this is a priori arbitrariness, what principle can lead us to the index? If it is impossible to be objectified as structure, indexical idea of opticality is no more than the sympathy with the default discourses for us.

 This comes of investigating simply. Even though abstraction, some keep the shapes as circle or triangle as the can be recognize by words, others are far from referring because they are no more than sign or condition. Making it universal, even the trace of ordinary things as representational images is not only reconfirming the things but containing the reality of perception with visual image that can be referred nowhere. Nevertheless, we are to ask the reason why we make many things compare from the relativization of so-called abstract and concrete.

 As one of the audience, I’d like to focus on the existence of interface that makes a method to the various things about vision deal with the screen, also that directly touches to the practice or the visual image that can be referred nowhere as I said is passionately formed on the canvas. Let’s start from referring to some marvelous attempt briefly.

 I’m looking at the small sketched illustration which Ernst Mach once draw carefully watching between his vision and self-consciousness (contained in “The Analysis of Sensations”; in Japanese translation “Kankaku no Bunseki”). In some literature of art history or cognitive science, this illustration is often quoted from the different context. Sitting in the chair and closing his right eye, Mach drew the scene before him in detail only through his left eye. His right hand with a pen is depicted, just before there is his bead and breast in a jacket, then both legs are stretched in a relaxed manner, which lead to the shoes. There is also an armrest with his left arm, still there is a window just across from him and the bright grove of trees can be seen. At the left side of the wall, there is a series of bookshelf and it goes along with the seam of the flooring, then the study space is displayed by a one-point perspective drawing method toward the window. This panoramic view of left eye is also his own self-portrait sitting there, however, it is a self-portrait without his face.

 What most attracted me is the edge of his eyelid sharply depicted from this side of his eye. This is just a sketch inside of his left eyeball. The edge of his eyelid clearly records the line that inside and outside of him cross each other. At the same time, I become conscious of this scenery comes into inside of the eyelid from the pen in the right hand and moving along with the right arm. However, this phenomenon is not by the real scene but by the deal itself that he drew it on paper. I soon felt like entering into there while I was looking at the picture illustration. I am sure it is not only because this illustration is the drawing inside the room, but this handwritten scene is also the scene in his eyeball. Only when you look at the real scenery, inside of your eyelids are the continuance of an awareness (of self) at those times, though a piece of paper stands between the real scenery and the eye then if mind and body responds through a pen, the situation is already on the surface of the quadrant.

 Drawing there would be equal to introduce the viewer to the place, that is, in the phrase of Paul Cezanne, not the actual view but “the truth in a picture”. Obviously a plane of paper turns into one of the inside, that clearly drawn edge of eyelid is contained there. Besides, when we come back to the (self-) consciousness, it becomes inside again, then the paper changes to the outside being watched carefully. Like this, inside and outside pass each other, then there occurs a continuous turning over. Due to that, these double meaning relations will be equivalent to the formation of topos just as integrating the conflicting elements and requirements with the practice concerns media. Then the inside and outside of the invisible threshold just near the edge of the eyelid clearly depicted in Mach’s two phase self-portrait comes to see as a self-portrait of the topos.

From a Vacuum to a “Verge”

  What I’d like to take notice about this integrative topos around the paper passing each other inside and outside or turning over is that the (self-) consciousness is drawn on the paper and it is sure to shift to the correlation there. The astonishing sketch of Mach itself is already with the consciousness that deal with the media passing each other inside and outside or so. Starting from this, even if it is an aspiration, on the (self-) consciousness with any recognition and on the other hand the reality of perception, these two screens apart are to come exceedingly closer, as it were, the languages and materials are integrated. Firstly it must be in structure that the state of screen keeps itself and the language instruct as it is. To practice this bear the minimal aspect.　Secondly, it must be in aim that the attitude to reproduce the image of things, namely, the homology of the depiction on screen and material as far as possible. This may be a cool representational images. One is minimal art, and the other is a hyper-realism, this widely known contrast seems to be one of the temporary practices toward those logics. Each practice heads for the incomparable synonymous repetition with things and materials. Unless it is a simple minimal art as a style, the inquiry about the correlation inside and symmetry of things has its inevitability in principle not only a paper but in relationship with media just as that sketch beyond the eyelid.

  Originally, entering into screen is to bring itself to some situation through the language with medium, it is nothing else but the languages landing to the foundation which organize itself in various ways with the successive conditions and elements of screen. That being the case, as far as the practice directly involved with the base of the situation in the proper way of being and we give a look there, it is limitedly with the principle just not by simple subjectivity.  Of course it is natural to keep some sort of visual, a purely visual, a purely visual art can be exist as an idea, but it is impossible to be as foundation’s reality of perception.

  At any rate, the considerable tension must be forced to put oneself in the synonymous practice inside and outside around the screen. There is the topos of integration as directly contact with the condition of media. Unless the aspect of drawn screen is something, the way will be out of media. In other words, art works may be the reverse phase of the converged things with the factors and thoughts as far as available.

  Since 2008, Kitamura’s comprehensive subject has been called “Flag---Giri-giri to the fence---” (“Giri-giri”means “so close”).  What I have written here is also about the giri-giri’s topos which is difficult to deal with. Before describing it, let me trace his works back to the past.

  There is a series of experiments about line drawing around 2000. He draw with a pencil and a ballpoint pen and not only putting a carbon paper, but in a few cases, he overlaid line drawing with another line drawing which drawn on some other paper and cut out. In any experiment, highly-motivated consciousness can be seen toward the change of visualization by tools and technique. I’d like to pay attention to his words at his talk with Kenichiro Ina afterward in October, 2013.

  “For example, when you only put a paper to another paper, there arises a “verge”. A verge, that is to say, an aspect. An aspect named thickness always comes out when you put a sheet of paper on your picture. There, I can’t help having interested in what will happen on that verge, very close to the limit.”

  This dialogue concerning to the past practice refer to some part of revelation of vision that comes from the perception complicated with the visuality involved with the screen.From here, he steps into not only picture, but picture as substance, that is quite natural because he refers to the “aspect” of screen. Before that, I am interested in the tact that his experiment about drawing dealing with papers has already lead to the subtleties of Mach’s full visual field. The field, that is to say, the threshold that vision and media involved in and cross each other and formed a sketch in paper when (self-)consciousness made him bring a paper and a pen out toward his line of vision. In Kitamura’s experiment, there is no precedent thought or things, nothing but the form itself drawn on paper build screen toward the way it inspires, then that system is “repeated”, while constructing the structure more and repeating internal formation. Things like that alters the painter’s look, that is only possible at that threshold.

  Further, what should be aware is that he says at the same talk about the form of applied paints from the viewpoint of “frontality and sidedness in the state of being raised”. He refers to the difference of view which occurs there, he feels that difference would lead him to another direction about how to deal with the screen with the notice of “verge”, the form of phase. The best tool keeps that state on the surface of canvas is nothing but the white paint, he also adds “it can express the material feeling most of all”. Just looking here, things seem to be simple, though the actual situation is not always so. It is because these are about the material condition concerning various recognition which become compound centering on screen, further, that condition is necessary for the topos where the inside and outside exchanges.

  The reality of vision that he expresses as “flag” metaphorically here is not associated with the flag we often see. That is a work at the end of 1990's, change from the chain of shape, the simple phase sift of space which some blue lines organized themselves by joining and separating. There, he marked the subtle formation of “verge” coming from the wandering relation of one line and another line with his unique, less than skillful just like groping touch of oil paint. Actually when two lines cross as they close, there tend to appear a compartment, moreover, while daring to avoid that compartment, the flexible space spreads out and there he caught sight of the flash of imagination that is unable to refer anywhere else he later named it “flag”. At the talk quoted before, he says that the two lines on screen are not to close each other, but “it is the beginning of the flag that I tried to keep the thing look like vacuum on screen”.

  Nevertheless, what greeted him at the “vacuum” was the view so bright and deep even it reminded him of the blue sky, white cloud and green field. Though at the same time, it is the view unfocused and any image can be build up.( Figure 1;〈flag-7〉,1999) If any antonym just as figurative and non-figurative taken here, the view becomes an ambiguous work. However there, something was fluttering between his eyes and it seemed to be released brightly. It was in the year 1999, the modification after careful trials of oil painting that is created in many ways of floating white touches or brushwork with bluish surface. The sign of timing by colorful surface owned the screen as the blue sky. However, at the works that he continuously developed the previous trials, that streaks became rather revealed as if these lines were to grope there. The lines like veins are connected together in flat mass by each field to make the limits between what he would call the “verge”. There are some chromatic colors--- the beginning was the timing just as “creating a vacuum”, then gradually each aspect has changed. Some part holds almost center of the screen, receiving a great deal of attention.

  Reaching the year 2000, that timing formed a rhombus like stingray. With its coming to the surface as a principal territory, lines became a major role and the possibility of drawing was pursued. The less the rhombus part owing there had colors on white paper, the more it gained the deep timing of lines and mass, therefore it underwent the changes from the early days of its series. Though it was not so large in number, these rushing and swinging of brush trying to find some structure there kept the “haptic” progress of view that had no other way to refer, because being optic contained rather being tactual. One of them, there is a spot with a stroke of a brush though it is not an eye of the stingray, that is a depth of screen with tangle and joint of territory spreads between two lines. It attracts everyone’s attention as if it contains the special moment which deviating from the “created vacuum” .(Figure 2:〈flag-12〉, 2000) This line drawing work may be the further modification that refers to his trial and error expecting the territory drawn by overlapped stout lines.

  His point of view is gradually and naturally enters into the mass in space and the implication in it. At the same time, in the intermediate aria between much recognition comes up this side of the viewpoint and much position inside and outside are always mingled, the integrated topos will try to find an index while it is deepening the connection with screen with its confident.

The Index as “Substance”

  Just now I touched on Kitamura’s mention of the “verge” on screen especially found out by white paint and his reality and recognition of consciousness about it. It won’t take very long to put this experience into one of the practices. The white paint itself has come to occupy the surface of a canvas though it is not very large one. (Figure 3:〈Fence-Ⅰ〉,2008) The shapes like rhombus which sizes are much the same stand in lines up and down, right and left on a canvas, the “verges” between these shapes are drawn with black paints that put in the delicate shadings. These shadings become deeper toward the right lower side of the screen, and they stand out each difference partially. In an even apperception on screen, the remarkable change of the thing what once should have been the vacuum territory, looked like stingray especially catches everybody’s eye.

  It is not an abstraction as ordonnance, but it shows obvious signs of way to reach an appearance on screen with some mass. Nevertheless, its form is each arranged in order with rhombic shape like repeated unit rather than strange mass or alignment. On choosing some essential elements from his progress so far and abstracting them as form, his past experiment will be refracted to the aspect of white paint with his drawing on screen. This is very impressive work as Kitamura’s new reaching point that has never been seen.

  Besides, he left another small work. (Figure 4; 〈Connect the Pebbles –ⅰ〉2008) There the lines that make up the “verge” have lost their corners, then the rhombuses get separated. White paint and pigment are supplied irregularly in the surface, and the black arcs evenly stand in a line, with each square part rises just as remains. These conditions on screen, though they are modest, keep the viscosity of paints sticking out the edge of canvas which indicates his consideration for “side face” with the support that he mentioned. That territory and space of “created vacuum” appeared as a mass with the white thickness, then the things have obviously changed. It is nothing else but “substance” in the literal sense of his word that accepts those feelings. His work has come to an important turning point. What exactly does that mean?

  If the integrative topos around the screen passing each other inside and outside has come to light and confirmed, there should stand the corresponding practical indicators. As shown in that Mach’s sketch, this mediazation putting some media as material like paper between the world and consciousness, has already been a priori within the situation brought by it. By the way, the indicator of the sketch practice by Mach would happen to equivalent to this mediazation itself. The world and every consciousness related to it must enter there at first, that is, on the paper. If the inner part would be formed like this, our daily recognition goes to the outside, and thus the work exists and stands in the integrative topos drawing a line there, showing the way to go. So to speak, I’d like to consider the sorting factor and marking equivalent to the core of practice and marking are the index, then the practice is its ascertainment. Therefore, as you see, the change what appeared on Kitamura’s screen around 2010 refers to the fact that this index headed for the “substance” with media seeing from the progress so far, the sign of mass which has been felt since before at the vacuum or space being existed between lines or so shifted to its substantiation in no time, then the screen was to more towards both states of space and certain mass. To anticipate, that way maybe the continuous experiment that sets the index to the refraction of screen with media as “substance”, to bring the material condition which appears and self-organizing there and the recognition this side of the eye close exceedingly and to identify. It may be the confirmation of the screen, the recognition, the action of synonymous repetition, and the process reaching an indication of screen itself. The way like this is the logic along the certain principle of his works as I have mentioned, it reminds us of the inevitability that is different from the rush of the changing expression mode of the world. That is why the deed must possess both practical form and form of existence that is worth paying attention to it. If it still tries to reach the limit as practice of tautology, it should bet the more accompanied with worth sense of strain.

  Here is a work painted by Kitamura in his youth. Although the ordinary things including nature seem to be referred colorfully there, it is impressive that his joy rising from what he see focuses on shapes forming a screen and eidos made by colors. I suppose he has already seen that inevitability of inner generation. However, what I have written up to now is from around 2000 to around 2005. At least these several years must have been the days that he couldn’t help being asked by himself how his recognition should be toward the situation as the painter this side of his eye in front of the perceptive reality spreading out one after another since entering into the inside of canvas. This organism of look comprehended in a word “flag” rooted in the modification of space between lines has been always at the base and has divided into some phases. At the same time from the viewpoint of audience, I wished to see his continuous plateau effect more at the ultimate terminus destination he stays for some time. It is because the rumination of screen reflecting these shifts of the phases seemed rather avoided.

  Incidentally, it is from 2009 to 2012 that Kitamura’s such involvement in screen began to converge things after the steady preparation. In its continuity in “giri-giri”way literally, there is certain importance as a matter of course. That is the series of works named “Flag《Giri-giri to the Fence》” as I have noted. Until he has get there, he turned his attention to the deflection of the leaves of Japanese mallotus between window and outside of it through the photographs he took. Then while catching a glimpse of the space “that really exists everywhere but I couldn’t have noticed anytime, anywhere”, he also felt the ubiquity of “flag” there. The developed “flag” has finally met “substance”. Before its actual situation was expanded radically, he had made several attempts with emulsion paint or so besides oil painting. (Figure 5;〈Gray〉,2008) The “verge” and space of color surface made by stroke of the brush instead of line became speckles and those linkage by putting the brush on the flatter level outer layer. These are the stable progress from the screen that the strokes of the brush which should be the entwined deformations of brown and black lines appeared some years before. The homogeneous and thick contrasts by slight brightness and chroma of greenish similar color extended to the edge of screen. It hides the movements of spotted part that can be seen or not loosened its density toward the center of screen and joined on the perimeter of it. It is not a vacant of space, but on an aspect of space’s refraction densely variegated with the color tone filled with mass of paints, both space and mass were thus investigated. Besides these works, another work was exhibited with that blue rhombuses were full in the picture, and the linear shadow marking these limits showed the shape of fence as we ordinary see. (Figure 6;〈fence-P80. blue〉,2009) The change of illusion about the space and “verge” came from the gap between lines around 2005 appeared at each way like this, he started to show the new aspects with the risk of remaining in the form of a diagram.

  Because of that, the appearance of some works belonged to neither way draws my attention that rhombuses gradually lost their angular consistency and they lined up at random not as mesh, but as conglomerate speckles. Each field of space and “verge” were to constitute the dense screen by contrast of dark and light with lines and color harmoniously still keeping their mass there. Audience would be able to amuse themselves freely with gap of shadow rather than space only if they accept the neutral “giri-giri” state from the very beginning.

  The square screen placed on display in the next year 2010 is comparable to them. It is a generous work some of long, narrow strip of color surfaces run from left side to right side reaching to right margin of screen. Sometimes fuzzy, but almost clear shapes extend vertically, then the brightness difference of achromatic color and the slight difference of tactile impression on surface possess the certain patterns of existence successfully, they delight our eyes. However, Kitamura experimented a new style around that time just as demolishing the coherent from definitely and ran the brush horizontally and vertically at last lay them over to ease the tension. (Figure 8;〈Molt・F60-L〉,2010) In this progressive or deviant practice, belts in a row and around them are almost no more than the range of color material drawn sideways. With the works of chromatic color that diminished its chroma, the screen is covered with the color materials in many ways and after it became the state of difference in their vestiges, this thoroughness would be tried more. Any good show should be rejected from the entirely brushed screen, that’s what make audience discomfit.

  Nevertheless, the visual interval that the “flag” still keeps should be created toward the state caused by the principle to make material factors concerned in screen a priori together with media. As I look back like this, the segment of space no more than the difference about the division or distance also might be bend through that topos passing each other inside and outside of view while it is made up on screen. At this stage, “Substance” should connect the whole screen together into one as smoothing and change the difference of field as space to the difference of screen itself. It is a development to 2011. In addition quickly, its opportunity must be the practice caused by his brushing on screen with achromatic paint colors or pigments in a drastic manner. This set him free.

Color Material and Idea

The characteristics appear on the surface of screen just as dim touch with transient chromatic color, transition to achromatic color, and ubiquity of texture correspond to the fact that his visuality about “substance” increased its ambiguous inclination to tactility more and more. If the inner as screen appears with the concern in screen, it is necessary to touch its foundation more. The index he served at the integrated topos encouraged it. It is reasonable that the comprehensive “substance” put in the topos of screen at that side and recognition at this side passing each other is much more to head up to the sign of tautology, that the condition of color materials would accord with the thoughts or recognition of a person in charge at some point of contact in integration.

  The contact with canvas using not only paints but emulsion coatings and even waterproof coatings has received much attention with its state of brushing and putting the brush just as smoothing the way and freeing himself both mind and body. Though he did not use the waterproof coatings openly, he gave some heavy and dark color layer as base, then brushed grayish color to near white so as to be overlapped with it. Every touch of brush went along with the situation in vertically long and horizontally long outlines, lengthwise and crosswise, and their crossing. Media and body, furthermore, the recognition through vision, these relations with screen should be tested like this with technical method. Screen rapidly increased its density.

For example, the density of color materials’ drop and layer, or the amount of solvent contained in brush, moreover, the screen which leaves almost equal aspect at the transition point of contrast where a bright band of color irregularity and a little dark spot of other side naturally make difference. (Figure 9:〈Gray-ii〉,2010.) It may be an arrival of new phase that the perceptive reality concerned with it find the aspects of constitution and formation of screen itself just as arranging the recognition of the person in charge. It is reasonable that the achromatic color is the best for the touch of these shadow and multilayer to be clearer as the bump and gradient by color materials. There are stain, swelling and transparent of layer, then the occasional condition is carefully controlled on the one hand, and on the other hand it escapes from the adjustment of recognition or assertion of language. Nevertheless, his index “substance” should have been determined beforehand as these things themselves might be the recognition toward the conditions and states of recognizer’s media. 

In 2010, thus the place where Kitamura put himself in was the surface undulations, the change of brought and linked states making the wondering form --- there was no new colors correspond or certain image still in gray. The screen with pale yellow or so barely referred to the muddiness of color layer itself just as assisting achromatic color. What corresponded here immediately was the slight shadow contained in white paint as he indicated, the vague “verge”, and its implication. That is to say, it may be the transmigration of long-pending question that he has brought over. Though his work has changed in various ways seemingly, there is a consistent transformation of illusion named as a metaphor “flag”, at this time there is even momentum as to make things gather all at once to the foundation as color material. It is exactly the feat of strength.

  This continuity even called too honest thus probably go to the screen foundation’s possibility or its forward, the limit of everything’s impossibility with accumulated emotion. “Giri-giri to the Fence “is a perfect word --- what to be achieved next to this word is the thorough recognition of screen’s state, and to put things to the unification of topos passing each other inside and outside of view. If applying the contemporary art term, it may be said as a sort of way to minimal restoration. Can it really be so?

Only as a logic, to be the complication of exchange pure in front of canvas with media and body, as I mentioned, the topos of look to ascertain screen and recognition proceed to the practice of tautology. To describe methodically in haste, the attention toward the state that condition of screen by media and color materials is already the going upstream to the foundation. Furthermore, it seems to be an elaborate and passionate practice with confirmation which Mach brought out to the other side of his eyelids referring obliquely to paper and pen. Accordingly, about screen and recognition, the correlated condition at integrated topos is narrowed down much more through running practice, so as to the things get closer to the tautology. Then, how is it like on the other side of the “fence” actually?

The coming back of chromatic color as if it is unavoidable may be the sign of intention to ruminate the stay and remaining in the foundation. It was at the year 2011. Returning to its foundation and base --- this “giri-giri” is also the end of induction of his frequent “flag”’s ramification. However, if the dealing and remaining in screen is reconfirmed precisely because he faces to the limits, this confirmation would make their turn to the new starting point immediately. The artist may wait breathlessly for this remaining and inversion to bring suitable moment that is to lead him to the unexpected phase. Otherwise, there is no other way to stay at the absolute edges still becoming thorough toward it, or to try to apart from the initial relation to screen.

On the contrary at these edges, even colors should keep back their deviation quite simply encouraging to stay on screen. It is because even between achromatic color and chromatic color, there appears the indeterminate perceptive reality, then the vacillation named stagnation different from mere reduction on screen. This incorrigible, but adorable temptation from perception. It should lead to the joy of seeing the screen reflected by seconds of life that he has a glimpse of years of thought at every aspects of “Flag” or “AKAME”. The vision appears there is piled up in multiple layers as you see, and the audience can’t help realizing its achromatic state comes from these laminations. Though it is seemed to be an intervention of chromatic color, it is indeed the exudation from the lamination layer. So its low chroma, almost grayed color tone is no more simply chromatic, but the chromatic color as a mass metaphorically.

 Let us watch the work such situation is condensed and formed on screen. This is rather small one with a square shape.(Figure 10; 〈Peach Flowers〉,2011) Somewhat greenish gray, the heavy layer of emulsion paint by both chroma and brightness in low tone get longer to picture edge evenly keeping the smooth surface by coating and piling repetition. The condition of color materials by brush and slight undulations make transparent layer between color materials and hue and pot on opaque mass on entire surface, these are none other than this work’s graceful show. The show of dulled greenish gray is like a color surface barely oozing out from the achromatic color as the complex of the induction of his working rather than the appearance of hue itself. In addition, the square screen is less than 130cm in both length and width, it just occupies the field of view from normal looking distance that makes facing to the unity of vertically and horizontally perceptive reality certain.

For the time being, his “substance” has reached its limit, and smoothed the texture until just before it kept the “verge” or shade of color materials. Chromatic color also changes the situation, it seem to sink the screen to transform to the minute gradation by chromatic color as a mass more than ever.

Besides, there is another vertically long work(Figure 11;〈Bitumen・Left〉,2010),

The cross direction belt painted with a brunch barely distinguishable by the brightness difference on deep blue hue screen rather than blank. Based on those trials, still I am fascinated by chromatic and achromatic, colors as mass beyond simple colors, by comfortable moss greenish screen that chromatic and achromatic colors as mass beyond simple colors and controlled method are laminated. Hereafter, when the shade of gradation slightly changing its state of rise and fall between color materials and hue as quality and phase on each canvas, every screen will own uniform color surface. I have referred for several times to the fact that there is nothing for it but to act the tautology as practice in this integrated topos to find the suitable way to solve the problem the perfect dealing with the situation and perception in these relationship with screen like this. Because of that his act in the name of works are to improve its accuracy more and more hovering there.

Reduction and Staying

Now I remember the categorical statement Ad Reinhardt once said, ”art as art”. From the very beginning, he had set a limit to his eye only to the reality of vision which had not relation to any thing or thought in the world. It’s because he had stuck to his practice with the firm proposition as “Fine arts”, extracted from his calm continuation of abstract foundation through pure monochromatic screen. This fundamental rigorism relies on the fact that he has set guaranteed idea of art to a priori in this case. In short as a logic, this might be an unambiguous and spiritual principle convention that finally makes the integrated topos dealing with screen to the inside as screen itself, or the form itself, rather than a simple tautology. It is not Hegel’s determination, but that is the “reality and language (logos)” itself as screen here.

  Picking up only this point, the integrated topos dealing with screen including media is the screen itself there, therefore the contradiction between screen and recognition activities, the scene that inside and outside continuously cross path disappears completely, then they overlap as the unambiguous thing with logos. Or rather, it should be the language itself. Indeed, it is language that makes screen with media suitable condition, but at the very close place, screen wanders from language. That is the reality and as I predict in haste from this fact, thus the screen exists together with language and pushes it back.

  As evidenced by what I have mentioned, the situations as minor gradation, dulled lamination layer and permeate layer, these spreads with smooth variation, and the intervention of colors on Kitamura’s screen are the transformation of him that his “substance” as index has composed itself in the exchange of screen and rearranged his own recognition and paved the way. I’d like to mention the work as one of the fruits of that transformation. This is a square canvas, the audience’s eye would be caught in the strength of screen with the thick mass of deep gray color materials pilled up to the cross direction.(Figure 12;〈Speed・Left〉,2012) There is a sense of fullness of achromatic mass all over the screen, this must be one of the milestone in his progress. To this point, there occurred small cracks or wrinkles at the very limited area of surface and slight undulation by layer, the appearance of “verge” and shadow clearly had the existence form brought by his some aspect of “substance”. The phase of screen like this is the result of the complicated method as using the oil besides the sufficient water-based paint. It is also next to the danger of falling into the raw material theory only relying on the artificial effect. However warding off the danger, his achromatic colors even can be said beautiful advanced further purification of the phase just as to condense the constitution of color materials and hue as sinking mass.

On vertically long canvas, variations of screen are moderated, slight points of change of brushing and brightness, they moved to the smooth screen just as touching directly to the mass of the texture. It seems to strengthen the degree of achromaticity more still not knowing if it is hue or color material. The double experiment of chromatic color as mass and achromatic color as mass mentioned before is not treated by particular logic. Thus when his achromatic screen lose its brightness more, with just that, it comes to similar to ”Black Paintings” of Reinhardt, but in Kitamura’s situation, first of all, it is the inducted matter as the relation to the screen he has found at various aspects, so it is completely different as you see. As this time, that ambiguous situation of distance and mass was to clearly proceed to mass with hue keeping the shade of interval.

It is quite likely that he stays at sufficiently integrated topos. Then in short, he seems to approach the tautology of material and idea on screen. What he has put as the index of his practice logically is, needless to repeat, ”Substance”. Inquiring this, he finally faced to the screen as surface and pushing back to canvas as I mentioned before, it might be the turn over to the screen foundation as possibility and its confirmation. It is natural that this means to stay and to float around at screen, namely to remaining at integrated topos. From above, I have to say this course is different from the tautology to reach for originally as a media, in other words, the practice of reduction as an object.

  The stay on screen with both meanings of color material as mass brought by his re-recognition of chromatic colors and coloring as reflection leads our eyes to the achromatic condition, that is distinct from color which means the contrasts of hue, chroma, brightness or so. The practical method made by gradation that makes the screen to such condition can’t help suggesting the audience that this achromatic condition including the whole chromatic colors. We have already felt on the one hand moss green oozing out from achromatic condition and on the other hand the implication of chromatic condition is gradually multi-layered on the screen even as a result. That is not a mere achromatic color. No other than the remains of uniform change of color keeping the touch of brush is to sink only give it the form of existence. At the exhibition space, extremely long and narrow picture was inserted although that was not necessarily going well because it seemed too abruptly, anyway it was suggested that each form to shift is the very work. The “fence” he aptly called also seems to be a confirmation of impression and response touching to the limit as pushing back to screen or canvas. However, this is not to leave everything to the mass as I mentioned earlier.

  Back in 2009 from this 2011 and 2012, he made a brave try at the work of fully repeated painting with achromatic color almost black emulsion paint on a large-sized paper. (Figure 13;〈Line Eraser. Right〉,2009) There is a wide and thin belt-like surface with a little high luminance color just like walling the achromatic color that brings the division effect, then the narrow outer frame was attached through glass as an outcome of paper. This frame is colored with black bringing the suitable catabolism all over the work, there is a feeling of unity beyond conjecture though it is a rough method. The way to practice for that mass and hue, that mass and distance, these ambiguous screen already seems to be tried through black.

  Judging from an integration of these, of course that is not able to be simply explained but if I dare to point out its great characteristics,  the inductions from his years of activities fist of these is the process of reached to the ambiguity including every situation since 1990’s. Then second of them, from the aspect of that tautology in his practice, the integrated topos seems to be put not in the reduction to the synonym itself but in the stay dealing with screen. The remarkable thing is every point leads to the confirmation of foundation. 

  At the same time, it seems to be an ask back of practitioner toward the initial existent or non-existent about the tautology of screen and idea. His attention to the profuse black achromatic color in 2009 might be the confirmative practice for the possible stay. The form of achromatic color complicated through a glass corresponds elaborately, it can’t help attracting audience’s eye to the pushing back to screen of canvas, that turn over to float. Colorings would ooze out or revive there.

  Nonetheless, this road may lead to thorough reduction, purification of screen. For that the integration should be purified so as to exist the practice that is the same meaning to screen and thought with media, then the work itself must suggest that. It is just a logic, the index that is to be a moment to get involved in screen is the very relation to screen, and it should be a pure experiment as “reality is language (logos)”. Having said that, in practice, originally complication of integration can’t be abstracted only to concept and vision because of its material condition.

  If he recognizes and accepts the pushing back of screen or canvas, this tautology may also head to it as a stay at integrated topos (Figure 14;〈Matrix・Saturday〉,2012). This is what makes behavior worthy of the name. There any media including canvas as yet is to bring materials to some condition, it is with the space which can’t be language even if it is close to language evidently. Then “substance” widely deals with concepts and materials in name, and its comprehension all leads to its foundation. The pushing back of surface and canvas Kitamura faces in the repeated workings of limit must also touch the overflowing foundation of paintings as turning to the breadth to deal with it.

  It is because of this fixed and intent pursuit of principle that his work which maybe by no means brilliant is worth gaining suitable practice form and existence form.  At any rate, no, exactly, when something never be retrieved by language at all even if it is pushed back by screen shakes the index disquietingly beyond “substance” changing the way and having the opportunity to deny, then what aspect of his stay would the audience be able to witness ---? It is interesting just to imagine.

  Nevertheless, the more I discuss, the further screen detaches….

  By the way, as I have mentioned, he gives every work an inconceivable name. These names might be metonymies all the more correspond at the outside of originally meaningless works. Screen, title, and therefore living time and unseen correspondence--- these references are also at integrated topos.  (Early spring, 2014)