Page 71 - World of Art magazine (2000)

junko matsumoto jaPan

artiSt TALk
My subject of work is expressions of people’s information languages and visual technologies
What do you want us to know unconscious mind and physical impressions.
when we look at your work? are causes of unreality of my subjectivity. Our
I feel a great interest in the idea that we have feelings are traveling between our illusion space
a sense of ’mechanism’ or ’machinism’ in and living space. And our busy daily life and
Mainly, I am expecting you to feel our intellectual function and behavior. It is rationalization affect our emotions.
something in your body through said that people’s social life and media create The feeling that dominates this mind will be
your vision. Also, I hope that these these functions. I have chosen this concept of a sense of unreality of the reality, which I
affections are not going to stop at unconscious mind as a subject of this year. I face, the ding of the image, which I image, and
your skin or biological materials. I would like to know what I feel in my daily life incompatibility between a object and image
wish for them to at a deeper place and what kind of intellectual aspects affect in the space.
than that. At the moment, I want my unconscious mind through my painting How can I express the feeling and tactile of
to communicate with you about the activities. less-reality of physical objects and reality of
sense of balance, gravity, rhythms, Actually, I have been creating my idea of metaphysical images? What is the incompat-
and scales of you in an gallery unconscious mind by making works. The ibility in the visions? If I could visualize that;
space. Then I want you to notice actual painting method I employed was very is such a work able to be a beautiful work?
that now we have such a opportu- simplified images and colors of picture. For the Although there are still many assignments
nity and equipment outside of the expression of my mechanical physical feeling, I about mediums, which are suitable for this
gallery, and to think what is your wished these can be successful elements which sense, I tried to employ different type of
feeling in that world.
are like automatic techniques of surrealists mediums and form of works at the end of this
and DADA artists. For example, Max Ernst’s semester.
Some painting appeal more
to the emotions, some appeal frottage made you feel a tactile of wood surface Sometime my works have strange titles. These
very realistically. Instead of this, in my painting,
more to the intellect. Where are I wish my universalized shape of tables and are for the positive communication of my
image. By putting a very complicated title on
your paintings on that scale?
numbers to affect the sense of gravities and simple picture, I wish to stimulate people’s
rhythms in the mind space. Also I employed imaginations, too.
Many early works are about peo-
ples emotions, and recent works are the shape of a 3-D box in term of horizon Photograph In the 2-D visual art, the quality of
and set of space. By looking at the works of
photographs creates a most rationalistic view
appealing to intellectual aspect of color field painters, I could know the feeling of and very chemical surface of pictures. I wish
humans. There are some reasons. illusion that comes through our vision. my photographs to supplement something the
Firstly, with early painting, I only As an example of visual artists who I looked at abstract painting can not express without it.
think about the character’s feelings during this period are Tadashi Kawamata and To make more positive communication with
in Mishima’s novel. This character Syusaku Arakawa. These artists works have the audience, I would like to get a chance
is a typical woman of emotion, and a point of view that they enjoy taking a part to talk to them in variety of languages. Also
my paintings got that feeling. After their and the viewers bodies in the space. I diversified mediums might cause a reality of our
this project, I started to work for feel interest in their primal sense of image, daily life. There are some contemporary artists
my subject. I have not decided my material, and functions, which are for these who positively employ this sort of expression:
shift and point on the scale between elements. I also looked at Japanese traditional Jennifer Bartlett, Robert Longo and Alain
emotion and intellect. Between painters in 17th century; Sotatsu and Korin Sechas. They show me a possibility of narrative
these, It is very hard to say which is Ogata. These artist’s sense of expansion of image in their fragment of installations. How
a truth of us and which is ideal of space is interesting to me. their elements of installations decided its styles
human beings.
The feeling that we live with a variety of as symbol of their images is interesting.

frigid
(detail)
1999 mixed media ©
15,1 x 30,3 cm /
1-7-19 nagaodai, takaruzuka, hyogo 660-0807 japan 6 x 12 in
e-mail junkom@skyblue .ocn.ne .jp www.133.1.160.127/junko

SPECIAL ISSuE 2000 World of art 69