------This may overlap with what I asked you earlier, but do you have any particular points in your own approach to your work that you think are unique to you, or "moments when you consciously release your individuality"? In the art world, new things have already been exhausted in terms of technology. Although technology is evolving day by day, some people think that the fundamental aspects of painting have been exhausted, and that we are now at a stage where our own expression is being questioned more and more, but I would like to ask you about how you face this and if there are moments when you consciously release your individuality.
Whether it is painting or visual design, I think it is really difficult or even impossible to find a new technique, but I am conscious of what I can do or what I am expressing, and I express what I am thinking. Or should I say...
------You mean to have a proper meaning by yourself.
Yes, think properly! I think the borderline is whether or not I am able to express what I have thought about. It is not just because it is beautiful, lovely, or cute, but I think the meaning of my work, or the reason why I do what I do, or express what I do, is what makes it unique.
------It is about what you do it for.
Yes, I think it depends on whether the background of the painting is well thought out, and whether it is possible to put into words the thoughts with which the artist painted the picture. It is no surprise that, when those who do not know me see my work, especially my abstract paintings, will not know or understand what I am painting.
It is important to be able to explain one's intentions to such people and see how they feel about it.
What an audience think it is one aspect of the stories of the work, and it adds fun to the interest of looking at abstract expressions.
------Value your own unique expression and to be able to explain it. Even if you say "abstract work" in one word, it becomes more Kanako's own unique expression by doing so.
That would be my individuality, or what makes me different from the people who think.
In the past few years, I have realized that it is very important to communicate with words. I think that most paintings are something to be looked at and felt, but I would say that just looking at them is also different. With my intention, it allows the viewer feel something deeper.
------It is important to be able to think and put it into words.
------Lastly, what are your goals and what do you want to do in the future in terms of art production?
I also heard before that you would like to create a series of delusional plants on canvas. Could you also tell us on this?
Certainly, I do have a motivation to create the delusional plant series in the near future in a new way of expression, and of course I will continue to do so, but on a larger scale, I would like to work more on the installation-like spatial production I mentioned earlier, and other different ways of expression.
I would like to do something that is not only an exhibition of paintings, but also like to produce an expression using the entire space.
Also, as I mentioned earlier, I would like to expand the possibilities for community relations and the nurturing of children, which sounds like a big deal, but I would like to expand these possibilities. I would like to provide children of the future with opportunities for artistic expression and opportunities to create the future, so to broaden their sensibilities even a little. I would like to do this not only in Japan but also in the world.
It is more a matter of course than a feeling that I want my work to be seen by many people and that I want to improve my paintings.
I think it is very difficult to continue painting artwork. As I get older, my body will not be able to move as much as it used to. But it is natural for me to keep doing it even though it is hard, and I think it is my life, so it is not something I "want to do."
By doing so, I want to work with people and the environment to create something that will brighten, invigorate, and move the hearts of those around us, the future of those around us, and the wider world outside of us.
I don't know exactly what kind of partner it is, whether it is one of my businesses or any part of society, but I would like to make sure that the future will be stepped up by what comes out of my production, for example, "the forest was protected by it".
I feel like that is my mission for the rest of my short life, and I feel like that is the meaning of painting.
------The meaning of why you paint.
In order to achieve this, it is necessary to make oneself and one's work known to everyone. Making an effort to have people know you is a matter of course, like a greeting. It is something I have to do. So it is different from what I want to do.
------Some people may think that phrases like "not just for Japan" or "for the future of our children" sound grandiose, but when looking back at the way you think and approach your work, it seems very natural that you would end up doing something like that. It seems it's very natural to come to such a conclusion. It is very convincing.
Thank you, I appreciate your words.
I will continue to move forward without stopping to think.
------Thank you for the interview.
Interviewer: Gallery Edel
Photo: Tadayuki Uemura