Tomoko Kashiki
Moon and Earphone, 2020
Acrylic, wall paper on wooden panel
250 x 182 cm
Copyright The Artist
Referenced from earlier drawing: Moon and Ear Phone, 2016, Pencil, coloured pencil, tracing paper, 29.8×21.1cm Drawing: How it started was when I was reading a novel, but it was more...
Referenced from earlier drawing: Moon and Ear Phone, 2016, Pencil, coloured pencil, tracing paper, 29.8×21.1cm
Drawing: How it started was when I was reading a novel, but it was more of the impression of reading a scene rather than a specific description. I completed the world view of the drawing by overlaying that impression and my own experience. At night, the moonlight (or streetlights) leaking into the children's room, pyjamas, earphones, a bed and next to it other objects that take the shape of small animals. The person sits on the study desk and lets their thoughts wander outside the window while listening to songs through earphones. In the novel, the window was the exit from that place at midnight. (Only the depiction of the window setting and the children's room are referenced to the novel)
Painting: Using the drawing as a basis, I added on more stories to it, resulting in the painting this time (while imposing the condition that the colours should be brighter) *The light leaking through the window makes the room look like the deep sea. *Dream of sea snake ... Referencing a dream I had in the past, I depicted a red ribbon while imagining the sea snake swimming in the room (primarily, I wanted to add "Something" that weaves in the water at the foreground of the painting) *The motif of what is on the futon became more specific. I referred to pink mice and teratoma. *Regarding the curtain swelling in the wind: when putting together the concept of the painting in the beginning, I wanted to create an eye-shaped (lemon-shaped) gap. After considering the overall color, I chose red for the color of the gap. It can look like a setting sun or the opening of a uterus. *Something in a sleepwalking state that came out of its main body at midnight points to the main body while looking downwards. Every night it feels like a complete liberation and cannot help smirking while looking at the main body. It returns to the main body after wandering in the night, but the main body has very miserable appearance and face as though they have lost sight of their parents.
When I was changing the color palette of the drawing, I was at quite a loss because the image of black and yellow were related to the story itself. It is still midnight in the story, but by placing the blue of the deep sea, the yellow of the moonlight, and the red of the sky outside the window in each part with respective reasons, the color palette that was meant to define the story setting and time became inconsistent. Yet, after much consideration, I adopted this inconsistency. I prioritized the interaction between the colors on the painting’s surface over the story. I didn’t decide on a color to explain the whole story in a unified way, and I continued to paint without defining it. But I think that has been successful for this painting. Those who see iridescence should be able to imagine the scene in their own way.
Drawing: How it started was when I was reading a novel, but it was more of the impression of reading a scene rather than a specific description. I completed the world view of the drawing by overlaying that impression and my own experience. At night, the moonlight (or streetlights) leaking into the children's room, pyjamas, earphones, a bed and next to it other objects that take the shape of small animals. The person sits on the study desk and lets their thoughts wander outside the window while listening to songs through earphones. In the novel, the window was the exit from that place at midnight. (Only the depiction of the window setting and the children's room are referenced to the novel)
Painting: Using the drawing as a basis, I added on more stories to it, resulting in the painting this time (while imposing the condition that the colours should be brighter) *The light leaking through the window makes the room look like the deep sea. *Dream of sea snake ... Referencing a dream I had in the past, I depicted a red ribbon while imagining the sea snake swimming in the room (primarily, I wanted to add "Something" that weaves in the water at the foreground of the painting) *The motif of what is on the futon became more specific. I referred to pink mice and teratoma. *Regarding the curtain swelling in the wind: when putting together the concept of the painting in the beginning, I wanted to create an eye-shaped (lemon-shaped) gap. After considering the overall color, I chose red for the color of the gap. It can look like a setting sun or the opening of a uterus. *Something in a sleepwalking state that came out of its main body at midnight points to the main body while looking downwards. Every night it feels like a complete liberation and cannot help smirking while looking at the main body. It returns to the main body after wandering in the night, but the main body has very miserable appearance and face as though they have lost sight of their parents.
When I was changing the color palette of the drawing, I was at quite a loss because the image of black and yellow were related to the story itself. It is still midnight in the story, but by placing the blue of the deep sea, the yellow of the moonlight, and the red of the sky outside the window in each part with respective reasons, the color palette that was meant to define the story setting and time became inconsistent. Yet, after much consideration, I adopted this inconsistency. I prioritized the interaction between the colors on the painting’s surface over the story. I didn’t decide on a color to explain the whole story in a unified way, and I continued to paint without defining it. But I think that has been successful for this painting. Those who see iridescence should be able to imagine the scene in their own way.
