井上賢一「蛇の目10-2」Kenichi INOUE "Janome10-2"
1991年 Two Weeks In The Spring(沖ノ島展館山市)（真木田村画廊）
The transition from a painting “to see” to a painting “to read”
My work during the 90’s was purely decorative art, incorporating excessive decorations such as traditional Japanese patterns; I was attracted to visuals that would confuse the perception of the viewer and dazzle them, shapeless things that would act as a kind of narcotic drug. I believe that this attraction came from seeing the Nikko Toshogu Shrine in 1989. After the year 2000, there must have been some reactionary change within me, but along the extended lines of my past artistic value: I started to lust after requiring physical shapes in my artwork. It may have been a natural change. As a result of this, recently I have arrived at a point that is an extension of decorative art and Japanese patterns, which is the beauty of the shapes that lettering creates. For example, the word “peace” is a collection of single letters to create a means to describe a general definition of the word, and at the same time transmits an image or vision of the word. However, depending on an individual’s experiences and abilities, there are many ways in which the word “peace” can be understood. When one cannot understand the language that is spoken (such as English, Japanese, and Kanji) and when one does not know the meaning of the word “peace”, the individual is forcefully returned to a shapeless world of chaos. When speaking the combination of the five letters that make up the word “peace”, many narratives start to spring forth around the word, and as if to assert the existence of each self, each yearn to have their individual shapes. I became terribly attracted to these multi-faceted letters that changed form depending on the way they would be perceived. In the works that I have chosen to show for this occasion, I used letters as well. If I must put it into words, I moved forward from a painting “to see”, to a painting “to read”. The world constantly births shapeless things, yet at the same time it lusts after shape. It is like a pendulum, forever hovering between “fixed form” and “no form”.