Inmin Blue is an artificial blue pigment that was accidentally discovered when the science team of Oregon State University was studying new raw materials to use the electrical system.
This pigment was born when the structure was tested at a high temperature of an oxide with other structures. Since 2018, Pigment Tokyo has been selling oil paint using the same face as a full -time product in Japan since 2018.
(*Inmin blue oil paint is sold out.)
Inmin Blue ¥ 6,050 tax included
Oregon Blue (Inmin Blue) Acrylic paint ¥ 18,700 tax included
This time, in this lab, we provided Inmin Blue materials to Atsushi Suwa, a painter who explores the same age while using classic painting methods. In recent years, Mr. Suwa has also published a collection of works called "Atsushi Suwa Painting Works BLUE" (2017, Sekisha). How did he really feel and touch this "completely new blue"? And what kind of material's academic knowledge is based on his work? We approach that background.
-When did it have been clearly conscious of "materials" in artist activities?
Mr. Atsushi Suwa (hereinafter Obu / Honorable Omit): The Department of Oil Painting at Musashino Art University has a painting composition room that mainly conducts research and applying classical techniques. Undergraduate students have the opportunity to experience the use of tempella paint and mixed techniques with oil painting. I was addicted to a simple and tasty drawing skin and a tempella that could describe the edges, and since I was a graduate school, I used it in voluntary production. However, the name "mixed technique" was a word of confusion that had multiple meanings since then. In addition, it was difficult to manage the work that was applied in high humid Japanese climate, and gradually used for production. But I think it was an important experience to understand painting from a material aspect.
After completing the graduate school, in 1995, he studied in Spain for two years as a trainee dispatched by the Agency for Cultural Affairs. At that time, I went to the Prado Museum and copied Albrecht Durer. In the European Academy, copying is traditionally recognized as a means of learning painting technology. Prado had not only painting students, but also painters who had a source of income, and there were so many masterpieces for them. Anyway, Prado's paintings are open to the people, and I feel the thickness of the culture in the department that manages them.
However, although the importance of techniques and art materials, it was around this time that I began to feel uncomfortable with enthusiasm for maniac there. You may be more concerned about the sense of operation of paint and the importance of drawing physicality.
-What did you feel at first after touching the in -mini blue?
Suwa: I heard "perfect blue", so how blue it was, I personally expected to be very high. It was touched that only the blue was absorbed by the green and red light, and as a result only blue appeared. I felt strongly that I wanted to see the bottom of the blue color, blue feeling, and the limits, which means how far I can perceive "blue". It was surprising that I felt a little reddish with the impression that it was dark. Nevertheless, in front of the valuable pigments in the night before the spread, it will be uplifted like a boy.
Inmin blue pigments lined up on the desk, acrylic paint (derivan), tube paint (Holbein)
- If you like painting, you have such values.
Suwa: You can never escape from there. For example, if you look at a pigment using valuable minerals, everyone will get a lot. Natural pigments are often impurities and can be enjoyed including subtle differences. Also, episodes that are not directly related to quality can add value. However, as you can see from this simple studio, there is no hobby that can be lined up with expensive rock paint that you can not use in your own generation. I think that there is a use for paints other than cheap art materials and specialized articles.
Inorganic and nervous studios had some small motifs.
-How was the impressions used?
Suwa: At first, I thought, "What kind of color do you need?" This is because synthetic ultramarine and blue, which can create similar colors, should be easier for anyone to use, so dare to choose this expensive pigment and have a long time that humans cannot verify it, and the weather is sung. You can't confirm the height of the sex. However, there is a feeling similar to Iv Klein's "International Blue (IKB)". If Yves Klein was alive, you might have chose Inmin Blue.
-Ikb has a slightly calm, calm, and back texture.
Suwa: When I used it with a dyed oil using a powdered pigment, it was dark but clearly blue, and I got a feeling of feeling cold as if it was absorbing light. This is one of the main visual works of the next exhibition. Do you know where you are using Inmin Blue? I use three types of blue pigments, but I think it's easy to distinguish.
《MIMESIS》 Atsushi Suwa, 2022 size (cm) 259 × 162 panels, canvas, oil paint
In this photo, the blue band on the left side of the skirt is made of natural ultramarine and inmin blue combination. The characteristics are clearly understood by the blue spots of the arm that blends into the left background, and the deep blue color as the deep sea, which is seen in the gap where the white paint in the central skirt is flowing. That's where I used Inmin Blue alone.
-I agree. A viscosity suitable for tube paint is used for the product.
Suwa: Yes, just melting the pigment with dry oil in your favorite hardness, but it was not just Klein Blue (IKB), but it was possible to feel the feeling of being sucked. This is a bit amazing. The specialty of the inmin blue is that it can be drawn in blue even if it is so dark. It seems that the illusion of a depressed feeling can also be produced. The light is sucked in and it looks like a separate space. For example, black pigments ... ivory black, etc. cannot be concealed with one stroke like this. I don't get stuck, but somewhere I'm crazy. The reason why such a different dimensional color was needed is that this picture is slightly different from a realistic realism painting.
-What kind of state?
Suwa: If you are searching for radio tuning late at night, it may be a mixed line in a language that you can't hear or not listen to it (laughs). That's a mysterious feeling. There is a floating feeling of being alone in the world. I wanted to replace it with a picture. So the colors you see are different from human emotions.
When producing two works, Mr. Suwa will make this kind of blue gray color width.
-There was such a work drawn.
Suwa: Since 1999, I have been drawing a dancer named Kazuo Ohno. He died in 2010 at the age of 104, but it would not be possible to draw with the general definition of realistic paintings. You can't see the target again.
But in my case, as long as I have the intention of keeping drawing, I think that humans can be summoned or that they should be able to extend the relationship, and I will do my best for that. In the case of "MIMESIS" mentioned earlier, when handing out the image of a dancer that is absent, it is drawn as if the two time axis is mixed in one painting space. The description that could not be said to be a natural reproduction required blue that can express the depth that is sucked in like a different dimension.
-What kind of process did you proceed with the production?
Suwa: "MIMESIS" was drawn to succeed the relationship with Kazuo Ohno, but is produced in collaboration with Takao Kawaguchi. He received the Minister of Education, Culture, Sports, Science and Technology Award in 2021, but before that, he became a hot topic with the challenge stage, "Kazuo Ohno," which is a complete copy of Kazuo Ohno. I didn't want him to be like him. "MIMESIS" means imitation, but Greek's ancient philosophy is said to be the foundation of creative art. In a copy like me, there was also a company that re -question the essence of production using drawing as an expression language.
—Is Suwa often gives the material and motif relationships?
Suwa: That doesn't apply to me. Because I am naturally passive. In the case of Kazuo Ohno, I offered to draw a picture from myself, but this is an exception. In most cases, the people who ask me to draw are covered. This time, I got a story about Inmin Blue from Pigment Tokyo, so I felt like I spread my story and connected it. I didn't know that "Blue" was stuck on me as an image related to the production, and would it be meaningful later to encounters that can't be said to be active with art materials.
《SOLARIS》 Atsushi Suwa, 2017-21 size (cm) 91 × 60.7 Cretaceous panel, oil paint
-There is a charm unique to artificial blue.
Suwa: For example, this is Utagawa Kuniyoshi's "Genji Unyyo -e -shi Gotuzu", but there is a reason why I decorated my personal belongings on the wall to invite everyone. This work uses Vero Ai (Berlin Ai / Purshan Blue), which brings a visual shock to Japanese in the Edo period.
Vero Ai has changed its ukiyo -e since it was imported in the 18th century. Until then, "blue" in Japan was Honji, which fermented Tate Nii, and a pale dye extracted from a blossomed flower. Still, it was possible to express a transparent blue, but it was said that the color was weak and difficult to handle. On the other hand, Vero Ai, which was popular in Europe, has entered Japan via the Netherlands and has been widely used as a pigment for Ukiyo -e. About 140 years have passed since the blue of this foreign country was invented in 1704, and this work was printed in a well -known era.
"Genjun Yukiyo -yaki Tamatsuru" is located in Suwa's personal laboratory. This is a 1846 work by Kuniyoshi Utagawa.
-It's a little different in the West.
Suwa: Lapis lazuli's anecdote is well known near the 17th century. The expensive blue pigment comparable to gold is a proof that the order is expensive. It would have been to ensure its value in the painting market that spread to the citizens. On the other hand, the color of velo indigo, a artificial pigment, was far from the 18th -century Japanese color sensation, which had been familiar with pale colors like plant dyeing. Is it too strongly dyed? Even in Katsushika Hokusai, which is said to have used a lot of velo indigo, there are also ideas such as using it with Honi, and this Kuniyoshi Utagawa's work is not clear, but it is diverse. You can check the rich blue. If the price of in -space is cheaper than it is now, various artists will find optimal use.
Mr. Suwa often appears in the work. I felt that some of the gaze, which is cool somewhere, but has a certain aesthetics and is directed to the material, is also available in paintings that are produced through a detailed process.
Atsushi Suwa, which will be held at the Fuchu City Museum of Art (Tokyo) from December 2022, will also be exhibited in this interview in this interview. Be sure to experience the world's latest artificial blue charm at the venue.
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2020 November 16, 2020 photographed by Atsushi Suwa depicting Takao Kawaguchi at Kazuo Ono Mai Research Institute: Sakiko Nomura
Atsushi Suwa, Atsushi painter.
Born in Hokkaido in 1967. In 1994, he lived in Madrid as a trainer dispatched by Cultural Affairs. After returning to Japan, he made a series work by drawing a dancer Kazuo Ohno and the parent and child of Keito Ohno. In response to this, the reality of realism as a return to the origin of the painting has been shown to a style with a higher specific gravity in the coverage process.
Nariyama Gallery, Kwai Fung Hin Art Gallery, etc., continued to be announced inside and outside, and in 2011, in the NHK "Paintings that follow the Museum of Art -Painters depicting the Death", in 2016, the ETV special feature "forgotten. The portrait of the people, "Painting the Painter Suwa, the Painting Refugees," was broadcast, and the thoroughness of the production was widely known.
In 2018, he became a professor of oil painting, Faculty of Sculpture, Musashino Art University.
Published in December 2022, the official picture book "Atsushi Suwa" Fire on the Rear of the Orthodox "" (art publisher).
Twitter: @suwakeitai
Instagram.com: suwa_atsushi_artist
・ Exhibition information Atsushi Suwa "Fire on the back of the orbital" SUWA ATSUSHI Fire in The Medial Orbito-Frontal Cortex
(This exhibition has ended.)
December 17, 2022 (Saturday) -Sunday, February 26, 2023
* Closed days: Monday (open on 1/9), December 29 (Thu) -1/3 (Tue), 1/10 (Tue) * Opening hours: 10:00 am to 5 pm (exhibition room admission is in the afternoon Until 4:30)
Viewing fee: General 700 yen (560 yen), 350 yen for high school students (280), elementary and junior high school students (120) yen * () within 20 groups.
* Free for preschool children and disabled certificates.
* Elementary and junior high school students in Fuchu city are free to present the "Fuchu Child Learning Passport".
* You can also see a permanent exhibition at the exhibition viewing fee.
Sponsored: Fuchu City Museum of Art
Special cooperation: Nariyama Gallery
Cooperation: NPO Corporate Dance Archive Conceptual Higashiya
Art Materials Expert at PIGMENT TOKYO
Akira Oya
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art. While working at PIGMENT TOKYO as an Art Materials Expert, he also continues his career as a visual artist.
Born in 1989 in Tokyo. Master of Fine Art and Design at Nihon University College of Art. While working at PIGMENT TOKYO as an Art Materials Expert, he also continues his career as a visual artist.
Art Materials Expert at PIGMENT TOKYO
Natsuko Shiraishi
Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.
Graduated from the Textile Design at Tama Art University. She is an artist who mainly works with original Washi paper and calligraphy.