My main interest rests on my hypothesis for the potential of painting’s visual experience when serving the profound role of connecting the viewer’s volatile and fragmentary memories and emotions. In my opinion, reflecting the radical shift of how we identify one’s self, this idiosyncratic nature of visual experience seems to become much more an essential function in contemporary society as not only a basis of self-awareness, but also one’s instinctive physical reaction towards an event in the outer world: this sensory life could form the platform to reach out to one’s externality.Taking this functional aspect of visual experience into consideration, I would like to sort out nonverbal sensitive realm which painting should treat peculiarly as a system of image editing. In other words, set of issues concerning the paintings to be solve is that “to analyze what made painting’s today and to exhibit what today’s painting enable”.

Repeatability of the process of painting, divided into four phases( pre machining of image, date editing, processing of canvas and output), can be held as a nature of digital fabrication by archiving data of images, procedure of preparing canvas and configuration of fabricating equipment. And quantitative volatility of ground on canvas is transformed into remains on surface as spontaneous noise by intervention of high reproducible tool.

The things to see there is the threshold between spontaneous noise which is being controlled and no-reproductive noise form the reproductive tool . Material framework of paintings functions as a place where incompatibles are temporarily reconciled.

The idea behind this process of works is based on a practicable assumption that painting is no more than calculations of given environment, set of visual materials and effect of tools. The process of painting is divided into a particular level that each tools are clearly correspond to intended visual effect and set of basic tools for the painting based on physical movement are substituted for tools of industrial field.

Through this intervention in tools palette, reproductivity, nature of substituted tool, is brought into a painting’s functional aspect. Once the same set of environment are given, approximate surface of painting could be processible. In the situation that authority is no longer able to assure collectiveness of painting, how universal and timeless criteria of painting could be judged. In this exhibition, a legitimate and alternative attempt is presented.
- Noriaki Hattori 

*image (left)
courtesy of the artist