Walking under Green Leaves

In drawing, she takes a picure of the scenery and draws the scenery as it is but brandnew unformed silhouette by repeating images. Since such plane ground are replaced by colurs and the compositon of medium and therefore creatinig the motifs as fragments of memories with losing a sense of matter. Using resin paint and cashews, she composes unique plane works.　Her recent residency in Thailand enlarges her challange with fresh motifs around the artist.

Cutting out the shape of visible objects or their shadows, the artist places and combines them on one canvas overlapping the forms on one above another. The objects sometimes are abstract, and sometimes figurative, often inspired by the landscape that the artist finds in architecture and other elements in the city. The overlapping composition of forms and colors are the characteristics of the artist's paintings.

Azami is taken with the leaves and foliage of trees such as pines and plum, often of her own garden. She uses ink to draw oval dots, large and small, and lines on the backside of absorbent hemp paper. She allows the ink to bleed through to the front of the other side of the paper, generating a multi-layered effect and the depth to the plane. Born by chance, this method has been employed since 2000', and she has created many pieces slightly different from one another. Recently she introduces use of color mainly blue color. Her style can be read as the successor of Japanese ink painting Suibokuga, but at the same time she is surely one of the artists who belong to the development of Western abstraction.

Takenaka was drawing Seeds Series on canvas with water color which anticipates the sprouting. Then another method of applying resin between layers of acrylic board was introduced to be mingled with the drawing. These works of Takenaka reflects light and cast its shadow on white base panel, the shadow making different impression in different moments in time along with the soft blur made by water colors, and are well received in the broader context. In 2013, she challenged a new work using film which demonstrated something invisible by giving the film colour by exposure at arbitrary lengths of time.Resin in between layers of acrylic plates reflects light and cast its shadow on white base panel. The shadows makes different impression in different moments in time along with the soft blur made by water colors.

Sceneries he depicts are not taken from the real, and we may feel that they are somehow floating from the real. Strangely enough, however, the sceneries at the same time makes us feel that we already saw them somewhere, sometime. He depicts with acrylic paints sky, mountains, roads, wires, traffic lights, and playground equipments without representing mankind, leaving us non-existence. He has several series as repertory such as map series, night view or water surface, some of which remind us of wood prints of Edo period. The artist questions if he represents 'nothing' while he draws these landscape. He seems to try to draw nearer by depicting the background of the object rather than depicting the object itself.