Painted Negativity 5 - 9

media/size: inkjet print on canvas, unique inkjet print on paper/ 2 x (54 x 54cm) set each

Painted Negativity is flat-screen work which was invented to make paintings without using hands. One of the characteristics of Painted Negativity is the structure with the paring of images, which is used as a metaphor of the fundamental structure of language; if there are more than 2 units like meaning=value, they are always defined by the each others' negative interactions between the units (when there are arbitrary propositions A and B, A+B⇔A=!B∧B=!A [‘!’ means negation]).
As above, the other characteristic of Painted Negativity is the generated typical phenomena of painting like bleeding and blurring without hands, which came from the following thought of mine: now the images used in Painted Negativity exists as a metaphor of language, the process must be separated from the artist's personal attribute.

In this series, I used only abstract images in 2011, and since 2012, I have started to use pornography in place of abstract images as a new approach. It has enabled interposition of ‘eroticism’ to the phenomena of paintings as metaphor of language.
The additional thing as a new characteristic is the following:
[a] Effect which enables viewers to feel it just beautiful, when they focus on its optical beautifulness only.
[a'] Effect which brings discordance to viewers' ‘aesthetic basis = ethical consistency’ that makes distinction what is beautiful or ugly when they notice that the objects used on it are pornography like vaginas, etc.
This is also an attempt to cause a split within indivisibility between ‘sign’ and ‘content’ (means ‘signifiant’ and ‘signifie’ in linguistics term), which is the universal structure of language.
In that sense, eventually, the above effect(s) directly operate(s) function of language itself, not as metaphor or analogy.

photos by Aisho Miura Arts

> return to ‘works’

>> return to index