Interview Kotao Tomozawa | Exhibition "Kotao Tomozawa Solo Exhibition" SPIRALE ""

——You've been holding solo exhibitions in a row over the past year. What is the motivation to drive you to the act of drawing?

It's fun to draw. However, it is not interesting to draw something that says "I can't draw this." It's fun to decide, "I can't draw this at all," and boldly challenge it. That's why it may seem like I'm drawing the same picture every time, but I'm always trying to take in colors and light that I've never used before, and I'm always trying to challenge myself. I'm often worried, "Are you okay? Are you sleeping?" (laughs). Certainly, I'm aware that I'm drawing a crazy amount, but it's okay because I'm enjoying it.

——Speaking of Kotao Tomozawa, it is an oil painting work of a person wearing a slime. This series is the main focus in this exhibition, but how did you decide to use a slime for your work?

When I was in the first year of entering the art university, it was troublesome to draw pictures. "All this world is a lie! I'm a lie!" That's why all the production was stopped, but at the same time, I found a slime that my friend had left at home, and when I noticed it, I wore it from my head. Then I felt like my breath stopped, getting into my nose, touching the retina, and everything was very pleasant. I knew that I was here, "I'm certainly here," and I was somewhat relieved.

——Did you have a time when you were bothered by the "complex that makes you slim no matter what you draw?"

When I draw, all the motifs such as gypsum statues, cow bones, etc. seem to have melted (laughs). At the time of the review, it was often said, "It's not a bronze." "I'm not good at drawing. I don't think it's right. But the slime was able to draw better than anyone else, and through that, I felt like I was able to paint what I felt in my life. Moreover, it wasn't made by twisting something, but just by simply drawing it honestly and simply, I think it was a very strong expression.

——What exactly does "what you feel in living" mean?

When you live, everyone feels pressure and spiciness. For example, that's the case. Slime is an image of salvation for it. But at the same time, some people seem to be suppressed by the slime itself. There are many ways to feel my paintings depending on the viewer. Some of them weren't expected.

——The person wearing the motif slime may be Tomozawa himself or a baby doll. What kind of position do you have?

"Myself" is the axis of the theme of this work. That's why I myself, who actually wore a slime, would like to simply draw "humans living here now." On the other hand, I wonder if the doll is like an experimental stand. I use it when I take a slime on my whole body, jump out of my eyeballs, or do something difficult for humans. However, the doll called Luki-chan, which I always use, has been a baby since I was a baby, and I feel like alter ego. Other than myself and Lucki-chan, I sometimes model my friends very rarely. A special friend who wants to wear a slime sometimes appears (laughs). This is also similar to Lucki-chan, but the relationship between myself and my friends at that time appears in the picture, so it feels like a diary.

——When you look at the slime drawn by Kotao Tomozawa, you will see how to put the highlights. Do you have any questions?

Well, how to add the highlights is important. In order to give out the feeling of the slime that transforms without stopping, the discomfort to remember when things shine brightly, the highlight is boldly put in. However, this is a way of drawing that gets angry when an art teacher sees it (laughs). It's said that dazzling whites shouldn't be used too much. But I'm staring at it, and I'm rushing into "Ei" where I think, "Is it a bit nervous?" Then, the unnaturalness comes out, and the eyes of the viewer are a bit flickered. That's why my paintings are often said to be realistic, but they are never realistic or not good. If the viewer sees it, it may seem cluttered. But I dared to do that.

——Kotao Tomozawa's work has a strong color. How do you think of color in yourself?

I can't use the color that came out of the tube as it is. Mix until the moment of pinning comes and use the color you love. It sometimes changes from the color I imagined, but it is said that the same color can never be made again, so I feel like I love and paint the color I meet every time.

——Do you sometimes start your work from the colors you met in once-in-a-lifetime encounter?

That's right. In other words, it may be the case. And because oil paints don't dry easily, all the paints placed on campus will be affected by other paints. The acrylic is dry, so I can decide this paint here, this one is this paint. So, when you finish drawing the background and start drawing the skin of a person, the color of the background is also included in it, and the color of the skin made in that way goes into another place. Everything is linked. An oil painting is a media that can't predict what will happen and can't really answer it. The coordinate axis is not a plane, but a universe. That's interesting.

——The relationship between the paints may be similar to the relationship between humans and slime in the work of Kotao Tomozawa, in the sense of blurring each other.

That's right! I suddenly noticed while drawing, but it's linked. However, I don't always think and draw, but when I'm drawing, I'm desperately not remember much. After finishing drawing, I often think, "Oh, why did you draw this?" (laughs). That's why I'm scared when I draw again. "How did you draw it?" Even if you keep drawing this much, it will be.

——Please let us know about this exhibition "SPIRALE".

This is a solo exhibition at a large venue, and the number of works exhibited is the largest ever. I'm still immature now, but I've drawn as much as I can do now. I want you to look closely with the raw naked eye. And this time, the first three-dimensional work will be exhibited. That is also a must-see.

——In this exhibition, from past works to the latest works are lined up, but are there any parts that feel evolution on your own?

It's really true that it's very different every time. So evolution……Oh, recently I started drawing very big pictures. In the past, I used to draw a size called No. 50 as "Uo" for about six months to put grudges. But now it is now possible to draw a bunban that is about 2 meters long, called No. 130. Moreover, it's refreshing and lively. In the past, I used to face each other with a feeling of "yes, I draw", but now I can draw like a breath. I've drawn a lot, so my body remembers it.

——For small and large pictures, the way you face each other when drawing is likely to change.

Well, if you're big, you won't know the translation. Even my lips are bigger than my face. But that's comfortable. If it's a small picture, you'll understand the translation. I can grasp what I think is strange, so I sometimes just fix it, and as a result, I feel like "I was able to draw a slim and uncomfortable picture well." But I don't know the reason for a big picture, but I just rely on the pure feeling of "I'll do it!" That's why it's not just a good picture, but a passion can be felt, and a refreshing picture or a picture that shows why I wanted to paint it.

——By the way, do you listen to music when you're drawing?

I'll listen. Recently, I often listen to German NEU!, Fishmans and Shintaro Sakamoto. However, I'm dragged into the lyrics, and I really want to close my eyes and listen to them, so I may often play videos. "Firebird", "Full House" and "Terrace House" (laughs). Also, there are times when you play the horror game on YouTube. I'm so lonely when I draw a picture. I'm taking on a terrible battle by myself. If you are scared more than yourself in the horror game, you can feel relieved.

——Does that kind of video affect your work? For example, there is a work that looks like "Terrace House" in this exhibition.……。

Well, I wonder if there is that (laughs). Some parts are flushing to make the head empty, so I don't think there is any effect on my own. But I remember that when I was painting this picture, I was playing this video.

——During this exhibition period, your first collection of works, KOTAO, has been pre-sold. What kind of content do you have?

The main works from February of last year to the present are included, but the transformation of myself is tightly condensed. During that period, it was so dark that I couldn't do it for me, so when I saw it, it's a great emo (laughs). Also, I had a photograph of the work taken by a photographer, but this is as cool as a yabai. Before always drawing, there is a goal of "I like this kind of picture", and I put a brush at the place "Is it completed?" I really drew such a cool picture. " I think that my work will be completed only after I shoot it. So, I think it's a collection of works where my paintings can be seen in the most beautiful state.

——Did you spend so much time?

It's a personal story, but when I was drawing the earliest works included in this collection, there was an incident in which the house was gone. After living in a share house with a rent of ￥9,250 (accident property), it is to this day. This collection of works is packed with turbulent time, such as "Is it Fuji-Q Highland?"