ARTIST STATEMENT, 2009

• #1582, oil on canvas, 17 x 17", 2008
• #1603, acrylic on canvas, 20 x 20", 2008

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• Mist #1-1640 Ballpoint pen on Paper, 48 x 70 inches. 2006

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ARTIST STATEMENT, 2005

In the logical sense, if a painting is not categorized as abstract it must be conceived of as figurative or concrete. I want to reach an aesthetic level in which there is no differentiation between abstract and concrete. In my mind artistic creation is paradoxical. Although ideas and mental images are essentially abstract in nature, I must transfer the visual illusion of that idea or image onto a spatio-temporal surface (two-dimensional canvas) in order for that image to be viewed by an audience.

Technical matters are very important in these paintings. I use an unusual masking technique that I accidentally discovered while using liquid rubber to make sculpture casings. I apply liquid rubber as drawing ink medium, layering on paint and occasionally mixing the colors all over the canvas. Similar in approach to traditional printing techniques, the results cannot be seen until the masking is removed. Once the color is painted over the field, I carefully remove the liquid rubber that was used to draw.

The results of each piece only closely resemble what I had imagined, however each time I am surprised how the final work exceeds my expectations.

The transformation of ideas from my deepest level of consciousness into observable phenomenon unfolds through a series of drawings that are spontaneous in nature.

With the creation of each work, I experience the metamorphosis of idea to visual reproduction throughout my deepest self. I must endure each step of this process, receiving each idea as it strikes me and submitting myself to it through the completion of its passage to visual entity.

This deep and conscious awareness of participating in each psychic event as it unfolds into a sustaining and physical work or art is what gives me great joy and propels me further in my life as an artist.

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?My painting are adventitious,? says artist Kunihiko Maehara. In creating this new body of paintings the artist relied on movement and chance from start to finish as they are process oriented pieces. The artist continues, "I did not draw or have a preconceived notion for the canvas." These pieces were created with technical processes, which is very important for these paintings and to the artist. ?I use an unusual masking technique which I accidentally found when I used liquid rubber for making sculpture casing. I applied liquid rubber as drawing ink onto these new paintings. Layer by layer I painted one color or occasionally mixed other colors all over the canvas.?

Color and color theory are important to the artist. Working with this layering process allows Maehara to manipulate the texture of the surface and the colors he applies. Through the use of masking to build his geometric images, one layer changes from or mimics the other as the masking is removed. The artist says; “After I painted color all over the field I carefully removed liquid rubber which was the masking.” The resulting glaze creates surprises which at times surpassed the artist’s expectations. Because of this techniques chance factor, the artist’s choice in color is very important. This gives Maehara’s work a great freshness.

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• Resume: Kunihiko Maehara

• For additional information please email or contact the gallery.

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  gallery@georgebillis.com

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