Sotaro Takanami

Your description of painting resists representation and instead foregrounds sensation, emotion, and internal necessity. Yet this position risks being read as an appeal to immediacy. How do you account for the role of discipline, repetition, and formal constraint in structuring what might otherwise appear as purely affective expression?
I get emotional, move the brush quickly, grab the tube, and hit it. There are many such acts. Especially when you enter another world, your hands move naturally, and time passes regardless of the color or the form. At times like this, the important thing is to have a solid foundation and have a third eye, the eye of the universe, that allows you to see yourself from a bird's eye view. The more emotional you are, the wider this third eye opens, and you move forward without feeling the passage of time.