{"product_id":"echo_koo-bohnchang","title":"VARIATION\/Mizutsu Tatsudai","description":"\u003ch1\u003e  \u003cstrong\u003eIf cracks and blurs become part of the scenery\u003cbr\u003eIt is possible to arrive at a landscape without drawing it\u003cbr\u003eIt should be possible\u003c\/strong\u003e\u003cstrong\u003e.\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003e\u003cem\u003eMetallic light spreads. Microscopic units that are like cells, particles, or stains are piled up. But they are not cells, particles, or stains. They look irregular, but they have rhythm. This painting does not point out the path of vain, nor does it drag on the past.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003eTakashi Hiraide\u003cbr\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e(From the preface of this book)\u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e-\u003cbr\u003e\u003cbr\u003eThis is the first collection of works by Tatsuya Mizutsu, who has left the world of Japanese painting and is exploring new horizons. It includes 80 full-size works from his series \u0026quot;Khora,\u0026quot; which is made entirely from ink and aluminum.\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eprose writer\u003c\/span\u003eTakashi Hiraide\u003cmeta charset=\"utf-8\"\u003eThe preface was written by graphic designer and haiku poet Nobuhiro Yamaguchi.\u003cmeta charset=\"utf-8\"\u003eIt is bound.\u003cbr\u003e\u003cbr\u003eThe number of copies issued is limited to 500. All copies will have a serial number. Of these, no. 1 to no. 15 are special editions that contain an original work and book in a special box made by bookbinder Akie Tsuzuki.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"UTF-8\"\u003eWe spoke to Mizutsu about the background that led to this book.\u003cbr\u003e\u003cbr\u003e-\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eWhat was the origin of this series of paintings?\u003c\/span\u003e\u003c\/span\u003e\u003cb class=\"\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e  \u003cdiv class=\"\"\u003eFirst, there was the landscape. As a motif that contains culture and history, painting landscapes was an attractive subject. But gradually, I began to feel restricted by the composition of the picture plane caused by gravity.\u003c\/div\u003e  \u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eFreedom from gravity, perhaps?\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eHow can I do this? I searched for my own method through trial and error. I began to seek works that opened up further, from realistic depictions of real scenes to imaginary landscapes.\u003c\/div\u003e  \u003cdiv class=\"\"\u003e\u003cbr\u003e\u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e--Crack\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eIs the blur also a part of the scenery?\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eYes. Originally, Japanese people have found scenery in the surface of tea bowls or in the smudges of ink. It is precisely in these coincidences that transcend human intervention that we have sensed indescribable beauty. If that is the case, then surely it is possible to arrive at a landscape without painting it? That is what I began to think.\u003cbr\u003e\u003cbr\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003eThis discovery could have been deadly for you as a painter, but it is impressive that you did not put down your paint and instead launched \u0026quot;Khora.\u0026quot;\u003c\/span\u003e\u003cb class=\"\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eThe essence of painting is not in the \u0026quot;subject\u0026quot; but in the \u0026quot;way of painting.\u0026quot; And if that's the case, then all that remains is the act of painting. That's what I realized.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eIn that case, the landscape does not require a specific \u0026quot;place.\u0026quot;\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eThere is no longer any need to depict a space that is based on a specific place.\u003cspan class=\"\"\u003eTopos (\u003c\/span\u003eTopos = concrete landscape\u003cspan class=\"\"\u003e)\u003c\/span\u003efrom\u003cspan class=\"\"\u003eKhora (\u003c\/span\u003eCola = a place created by action\u003cspan class=\"\"\u003e)\u003c\/span\u003eI see this as a change to.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eThe title of the series of paintings is \u0026quot;\u003cspan class=\"\"\u003eKhora\u003c\/span\u003e\u0026quot; is a phrase used by Plato in his cosmological treatise, \u0026quot;Timaeus,\u0026quot; and refers to the motherly place from which all things are born.\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eIt is a word that comes from ancient Greek and refers to a state in which the subject and object are undivided. In other words, it is a state in which there is no division between me and the rest of the world, and the subject and object are fused together.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eLike when you're just listening to music absentmindedly?\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eThat's right (laughs). In Japan, there is the logic of place of Kitaro Nishida, and there is an essential commonality with Eastern thought. I intuitively felt that there was a pictorial space to tackle there. The only materials I used were aluminum, which has become mass-produced through modernization, and ink, a traditional material of the East. I layered them repeatedly using Chinese brushwork.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eUnintentional ink marks fill every corner of the screen.\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eThe scenery changes in countless ways depending on the viewing angle and the lighting. The state of mind from which one faces it also produces countless variations. These discontinuous variations blend together binary concepts such as East and West, culture and civilization, individuality and wholeness.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003e---\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003eEven this book has undergone numerous revisions, resulting in discontinuous variations.\u003c\/span\u003e  \u003c\/div\u003e  \u003cdiv class=\"\"\u003e  \u003cbr\u003eI'm glad that my first collection of works has turned out this way. It's truly a book that feels like a landscape.\u003c\/div\u003e  \u003cp\u003e\u003cbr\u003e\u003c\/p\u003e  \u003chr\u003e  \u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e\u003cspan class=\"s2\"\u003e◉\u003c\/span\u003eAbout delivery of products\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003eWe plan to start shipping from mid-July. Once we have an estimate for shipping, we will contact customers who have purchased the product by email to inform them of the delivery date and time.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003e◉About the product\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003eThe sleeve case for this product is made of paper containing long fiber recycled paper. Enjoy the different expressions that come from the unique characteristics of the material.\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e  \u003chr\u003e  \u003cp\u003e\u003cstrong style=\"text-decoration: underline;\"\u003e\u003cspan class=\"s3\"\u003eAuthor Profile\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan class=\"s3\"\u003eTatsuhiro Suizu\u003c\/span\u003e\u003cbr\u003eBorn in Hiroshima Prefecture in 1987. Graduated from the Master's Program in Japanese Painting at the Graduate School of Fine Arts, Tokyo University of the Arts in 2013. Participated in the \u0026quot;National Treasure Ban Dainagon Emaki\u0026quot; reproduction project (2013). Completed the Omine Okukake training pilgrimage (2016, 2018). Major solo exhibitions include \u0026quot;Traces\u0026quot; (Entoku-in, 2025) and \u0026quot;Soyu\u0026quot; (Nihonbashi Mitsukoshi Main Store, 2022).\u003cbr\u003e\u003cimg\u003e\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cimg\u003e\u003c\/p\u003e  \u003cp class=\"p1\"\u003e\u003cspan class=\"s1\"\u003e  \u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":54133942616232,"sku":null,"price":224.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2509e_005.jpg?v=1760432136","url":"https:\/\/en.fragile-books.com\/products\/echo_koo-bohnchang","provider":"FRAGILE BOOKS","version":"1.0","type":"link"}