I seek to capture the atmosphere and the physical and emotional sensations I experience in nature. My recent body of work titled ‘tracing elements’ is focusing on lines and strokes, and light and shadow. To reflect the constantly changing environment, I combine fragmentary drawings formed in focussed, brief sessions into one image. The subject is interpreted in the context of its surroundings: the movement of air, sounds and smell. Objects emerge from the juxtaposed lines, like flowing waves in the sea. A session is drawn in one flow like calligraphy or a dance routine using pencil, pen, watercolour, lacquer.
I work on semi-transparent architectural drafting film, which captures the play of light and shadow. Sometimes the drawings are loosely overlaid to represent the richness and depth of the view or experience – connecting the image to its surroundings. These pieces change with the natural light illuminating them and so become an element of a natural phenomenon. The sense changes dramatically with front and backlighting, like a landscape during the day. While the paint doesn’t permeate the polyester sheet, I also work on Japanese paper or raw canvas. In this case, the colour infiltrates into the material rather than accumulating in layers on the surface. The viewer experiences the spread of colour in three dimensions is invited to dive into the depth of the painting. I employ various materials ranging from traditional Japanese painting materials (such as Iwa-enogu (mineral pigment), clay or seashell pigment prepared with Nikawa (gelatine glue) applied on hand made Japanese paper) to industrial materials (like rubber, silicone sheet, lacquer or polystyrene film). These materials guide me in my aim to capture the essence of nature in my largely abstract work.
Mitsuko Hoshino 2014