Cosmic Rhythm Series | wood grain art | Kota | Oneness Artist
The grain of the wood.
It is the design created by earth.
It is the rhythm of the cosmos.
The mysterious fluctuation like
the shape of waves and clouds is
the rhythm of the cosmos, itself.
Kota | Artist Statement | Short Version
My concept is "Oneness".
It is based on "Cosmic Rhythm", my unique technique that takes advantage of the natural beauty of wood. In this technique I pursue the expression of cosmic Oneness by respecting the grain of the wood and painting along its flow. It reflects the teachings of the philosopher Sakyamuni (Buddha) (circa 5th-6th century BC) on the Law of Auspiciousness, that all things exist in dependence on causes and conditions.
This artistic endeavor is driven by a deep commitment to promoting world peace and harmony within the global environment.
(Long Version is below)
Kota | Artist Statement | Long Version
Cosmic Rhythm:
An Exploration of the Oneness of the Cosmos
The fundamental premise of this work is the
assertion that all that exists in the cosmos is one.
The concept of oneness has consistently served
as the fundamental axis around which my artistic
endeavors are structured.
I have been engaged in a multifaceted endeavor
to articulate the philosophical concept of Oneness.
I have been employing a variety of techniques
and methods to express my ideas.
The concept of oneness has been espoused
not only by philosophers but also by
scientists, religious figures, artists, thinkers,
and numerous other prominent figures who
have made significant contributions to historical thought.
Currently, I primarily utilize a direct painting
style on wooden boards, respecting and following
the natural grain of the wood as a guiding principle.
This approach allows the painting to evolve
organically, guided by the inherent qualities of the
wood itself. I have coined the term "Cosmic Rhythm"
to describe this unique style and technique.
My artistic motifs are diverse, encompassing a range
of subjects. However, I predominantly focus on
portraying animals.
This artistic endeavor is driven
by a deep commitment to promoting world peace
and harmony within the global environment.
Wood, a natural material,
possesses intrinsic aesthetic value.
No two pieces are identical.
Furthermore, the material, color, and time
when the tree was once alive are all factors
that contribute to the unique characteristics
of wood. The grain of the wood is a result of
the tree's lifespan and the processes that
occurred during that time.
The configuration is unique to each specimen.
It can be likened to a wave, a cloud, or a map
of a mountain. The distinctive pattern and
configuration are typical of natural phenomena.
Such a pattern may be described as a fractal structure.
From the perspective of the cosmos,
it can be postulated that the grain represents
the rhythm of the cosmos.
The formation of the grain is a reflection of the
movement of the cosmos.
The orbits and rotations of the planets, the ebb
and flow of the tides, seasonal changes, and
other phenomena are all based on rhythms in the cosmos.
A similar assertion can be made with regard
to the philosopher and initiator of Buddhism,
the Buddha (circa 5th-6th century B.C.).
The Law of Enki: The Enki teaching posits
that all things exist in dependence
on causes and conditions.
In accordance with this law, the doctrine
posits that no entity exists in isolation and
that all phenomena are interconnected.
The act of respecting the grain of the wood
and developing the picture and painting
along the grain of the wood, with the help of
nature, is an act of expression that follows
the flow of nature. Furthermore, it can be
considered a dialogue with nature. It is an
act of entering into the rhythm of the cosmos.
This is the manner in which I express and
establish a sense of cosmic unity and cosmic oneness.
The primary medium utilized is acrylic paint,
with the application of a varnish serving as
a final finishing touch.
The wood is a heterogeneous material, and
therefore each encounter and parting is a
unique event. This process bears resemblance
to the spirit of the traditional Japanese art of
tea ceremony, which is often described as a
"once-in-a-lifetime meeting."
(Ichigo-Ichi-Ichie)
Furthermore, I have traveled internationally
for extended periods of time. During that
period, I frequently experienced a comparable
sentiment at each encounter and separation.
In addition, Japan boasts an ancient cultural
heritage that encompasses the traditional art
of woodworking. Wood has been used in the
construction of a multitude of structures,
including shrines, temples, houses, furniture,
and works of art. The incorporation of
advanced techniques has enabled the creation
of these structures with wood.
I was born and raised in an environment where
I frequently observed these traditional works.
From these observations, it can be surmised
that the utilisation of wood in my artistic
practice is inextricably linked to my personal
identity as a Japanese individual, born and raised in Japan.
The motifs that I paint encompass a diverse
array of subjects, including animals, humans,
flora, and topography. Additionally, I explore
a range of emotional themes, such as feelings
and the presence of dragons and light.
However, animals are relatively common subjects.
Animals are a fundamental aspect of nature,
serving as emblematic representations of the
interconnectivity between humans and the
natural world. They constitute a significant
portion of humanity and of this planet Earth.
The extinction of certain animals, including
insects, would have a detrimental impact on
the global ecosystem, potentially leading to
the collapse of life on Earth.
It has been postulated that the world's
life-forms are in danger of collapse.
Furthermore, animals that inhabit natural
environments possess qualities that are
absent in humans, including purity, strength,
beauty, sanctity, and fear.
The latter is a particularly compelling
motivation for my work.
In the act of painting animals
(that is to say, nature),
the human being brings to the task
the following background:
In Shinto, the natural world is regarded as
a sacred entity. Since ancient times,
Japan has been endowed with a wealth of
natural resources.
Conversely, Japan has also been afflicted
by a plethora of natural disasters.
Indeed, I have first-hand experience of two
significant seismic events:
the Great East Japan Earthquake of
11 March 2011 and the Noto Peninsula
Earthquake of 1 January 2024.
In both instances,
I was fortunate to emerge unscathed.
The prolonged and intense tremors served
as a stark reminder of my own mortality.
As a result of these experiences,
I have come to understand that nature can
bestow blessings that are beyond the
comprehension of humans,
as well as inflict destruction.
In light of these considerations,
I, as a person with an identity of my own,
a human being, respect the natural beauty
of wood and the breathing of new life
and landscapes, such as animals,
along the grain of the wood.
It is my contention that by infusing the work
with new life and landscapes along the grain
of the wood, I am able to imbue it with a sense
of cosmic expansion.
Similarly, I believe that by incorporating elements
such as animals into the piece, I am able to imbue
it with a sense of cosmic dimension.
Conversely, the human life form has evolved
to a significantly higher level of complexity
and sophistication in comparison
to other life forms.
The capacity for destruction inherent in this
phenomenon has the potential to annihilate
the natural world and the planet itself.
On the other hand,
it can also serve to safeguard the environment.
In addition, the capacity for human beings to
inflict harm upon one another is a further
consequence of our nature.
Alternatively, we can protect each other.
In this way, humans can be considered a
unique life-form, yet they are also a part of
nature and exist in accordance with
cosmic rhythm, as do all other life-forms.
We are subject to the same rhythms as
other life forms within cosmos.
Similarly, we consume other life forms.
We are extending our life spans on a daily
basis, in a manner analogous to other life forms.
Furthermore, in the 21st century,
our relationship with wood remains an
inextricable aspect of our lives.
Wood is a pervasive element in our domestic
environments, incorporated into the
furnishings and structures that comprise our
living spaces. Its presence is also evident in
the built environment, both in the form of
wooded landscapes and in the construction
of roads and other infrastructure. Wood is
thus a ubiquitous material in our daily lives.
Our lives are inextricably linked with wood.
The wood displays a distinctive grain.
While it is not typically a focal point of attention,
upon viewing my works and conceptual framework,
it is probable that one's perception of daily life
will undergo a transformation.
We are perpetually immersed in the cosmic rhythm
of wood grain. Awareness of this phenomenon
enriches the heart and mind, fostering a deeper
understanding of nature, humanity, and the Earth.
This understanding, in turn, can contribute to the
establishment of world peace and harmony within
the global environment.
All techniques and ideas presented herein are the intellectual property of the artist Kota and are protected by copyright laws. In the event of an allegation of plagiarism, legal action may be pursued.
