The grain of the wood.

 

It is,

A design created by the earth.

The rhythm of the cosmos.

 

Its mysterious fluctuation

like the shape of waves and clouds.

 

This fluctuation is the rhythm of

the cosmos itself.

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.