<林卓行(東京藝術大学准教授)「Sweet & Bitter」ギャラリーαM個展カタログ,武蔵野美術大学出版編集室,2002年>


Sweet & Bitter      林卓行







Sweet & Bitter      Takayuki Hayashi


Those who look at Sasaki's works for the first time will probably have a bewildered feeling towards its slimy surface which looks as though some jelly has been thinly placed over it, or some may have a fetish-like interest in it (like me.) However, this strange surface was never added as an effective finish in order to let the viewers have an interest like this. First, this surface has such an effect as to let compatibility settle in muddiness between two factors, transparency of colors and substantiality of paint, which are (I do not know since when)accepted to be inconsistent with each other. Next, as explained in the following paragraph, it is deeply related to the structure of Sasaki's painting itself.

Every part of Sasaki's work consists of piled layers of a jelly-like form. "A painting with plural layers" seems to have already become a cliche as a methodology for producing works and as a vocabulary in art criticism as well, but as what do we consider a work in which the positions of the layers are unstable or are not made flat by compressing the depth?

Sasaki carries out two processes simultaneously; putting the paint to make a new layer and scraping the paint which was laid there before to expose the layer under it. The layers scattered about on the surface in this way ceaselessly permeate the upper and lower layers. A new layer which should have been piled on another layer is dissolved by the back and forth movement of the paintbrush and gradually begins to penetrate the lower layer. The two layers are mixed together in some parts and in other parts it seems as if they exchanged their upper or lower positions. And it may even be possible for the color combination,

for example, melting bluish gray into vermilion of high-chroma,to emphasize this muddiness or transference.

When these processes are repeated with many layers, here and there in Sasaki's painting the veil of colors begins to flicker slowly. Even the simple stroke which was made on the surface as the final touch and which seemed to settle itself on the very front is forced to be involved in this flickering. Here, muddiness appears again.

Thus, Sasaki's painting has successfully drawn forth the positive value of muddiness. In the space and colors of the picture which make the viewers enchanted, it may act as a slight resistance and add an impression of depth and energy to the place : just like a slight bitterness found in an overwhelming sweetness.