Lines of Flight
op.367-370

2012, 320.0cm x 195.0cm, oil on canvas
AKIYAMA Gallery ( Sep,3 - 22, 2012 )

Freedom of Flight

Hitoshi Dehara ( Curator ; Hyogo Prefectural Museum of Art, Kobe)

I had an opportunity to see the latest work of Akihito Takuma at his studio in this June. Although he uses the same technique, which he rubs the whole canvas with a brush before paints get dry, the content of landscapes in oil has changed to almost abstraction. However, I was certain that it was not to be explained by only pointing out the difference between abstract and figurative.
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Hyogo Prefectural Museum of Art has his works, gLines of Flighth as a public collection. The early stages of this series represent the fundamental characteristics.
The piece is long from side to side and four canvases in a row, composed the above-mentioned technique, which he rubs top to bottom the whole canvas with a brush after he strikingly draws in perspective lines with a birdfs-eye view. For the contents of Akihitofs landscape painting, which is the expanse of "side" and "depth", the technical skill of brushed "length" and "surface nature" can express symmetrical and antithetical.
The screen, which is covered with brush rub as scanning lines, is also like a blurred sight by rain. Since brush before paints get dry, that sight is etched on the canvas. The layers of oil paintings are not removed, that is almost all contents keep on there therefore the brush is soft. If its "wet" is represented on desert zones, in other words "dryness" like Akihitofs following works, his paint is composed of the contents, technique, and the third bipolarity.
I was thinking these six substances : "length" and "side", "depth" and "surface nature", "wet" and "dryness", for instance, if these six contents in pieces were linked for two each in a space, I felt the coexistence unexpected and tight-knit originality, as it were the point of intersection of three lines. These contents are, in a sense, the coordinate axis in the same series of Akihitofs works. The bipolarities are carried by his brush technique on the coordinate axis, this is for sure, the points, which keep all balances has the characteristics.
I am certain that gLines of Flighth is the result of his review for contents and the trial-and-error of brush. The screen is consisted of vertical one canvas, the objects are almost abstract, and thus it is difficult to feel the depth perception. Thus, the "side", "depth" and "dryness" is removed. Then, the brush technique : "length", "surface nature", "wet" completely lost the object and float in the air. Although the brush itself do not independently stay because of the process of Akihitofs technique, the degrees of freedom, as a consequence of the non-antithesis expression.
What I want you observe for here is jet-black abstraction replaced the general sky of landscape the upper half of his canvas. The darkness of night are rarely expressed on the screen until now, it is consistently used in his latest works. Akihito clearly emphasizes the opposition of spaces at top and bottom.
The new established expression ; no connection with the above-mentioned three polarities, his technique combines and states freedom of flight.
The transformation is a part of two poles to linked oppositions. The balanced view to unified substances. In that sence, my thought is that Akihitofs latest technique : brush rub, that is to say his expressions, gLines of Flighth is released from objects and it therefore presents as whole contents of the sence, and improve the comprehensibility.
gLine of Flighth increasingly discloses its real nature.




Lines of Flight
op.370

2012, 320cm x 195cm, oil on canvas








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