Mio
澪
- 水を描かず、流れの“道”だけを残す。抽象とは関係性を抽き出すこと。線は澪となり、余白を通って記憶へ流れ込む。
over view
水面を描かず、流れが通った“道”だけが残る。
濃淡の塊は水圧のように沈み、細い線は澪として余白を割いて進む。
滲みや飛沫は偶然ではなく、速度と抵抗の触れ合いの痕跡。
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This work does not depict water; it leaves only the path the current has carved. Dense pools settle like pressure, while fine lines cut through white space as a channel. Bleeds and splashes are traces of speed meeting resistance, not mere accident. Abstraction here means letting go of literal objects and extracting essence through relations—flow, density, interval—revealing the skeleton of sensation. As the viewer’s memory becomes the medium, the channel shifts, extending into a different route within each gaze.
濃淡の塊は水圧のように沈み、細い線は澪として余白を割いて進む。
滲みや飛沫は偶然ではなく、速度と抵抗の触れ合いの痕跡。
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This work does not depict water; it leaves only the path the current has carved. Dense pools settle like pressure, while fine lines cut through white space as a channel. Bleeds and splashes are traces of speed meeting resistance, not mere accident. Abstraction here means letting go of literal objects and extracting essence through relations—flow, density, interval—revealing the skeleton of sensation. As the viewer’s memory becomes the medium, the channel shifts, extending into a different route within each gaze.
