「limited unlimited」


- oil on canvas - 727×1167mm (2018)

My work, “limited unlimited”,  attempts to express the truth by removing the decorativeness and concreteness of paintings.  Seeing the landscape of the limitless truth, its broadness always tells me “Human is not absolute. Neither is the world. The truth is always shaken.”


Sakai Otoshige, the holder of Important Intangible Cultural Property, remains a word,  “Noh has the unconscious mind of Japanese, “Human is not absolute existence.”


I found out the common viewpoint in his word with the theme of my own work then having interests in it. I was impressed by its various ingenuities to produce expressional effects at the maximum with the minimum act, which is also similar to Zen Garden.


This work depicts the horizontal lines by using two oil colors which are limited in white and black, mixing them and applying in layers then. That might be only a meaningless. However, just like no definitive answers in our world, its existence has the maximum meaning for us, I think.

「and Ray」


- oil on canvas - 333×530mm (2017)

This is a work made for a cover of the CD album  “Anata No Inai Kisetsu Nante Shiranai”(“the Season means nothing if you aren’t there”) by Tatsuro Mashiko, who is a composer of “Hanamizuki”, Japanese top-selling tune sung by Japanese Pop singer Yo Hitoto .

I express the worldview of the sound and the lyrics in my own painting theme.

Also, as the effect to make “Ray” way brighter in the picture, I emphasize the contrast of “Existential World”, which is showed as a background.




- oil on canvas - 1455×1455mm - (2016)

I wonder if "right" is really 'right'...
In the history, even on the basis of various policies, such as capitalism, communism, and socialism, screaming out the variety of its propaganda, the world where we live is accelrating the unstablity day by day.
What on the earth is art history or art itself ,which has constantly continnued to be created and told. It can be said that one of the factors is to find out "light". Any kind of  paintings shows(controls) light on a flat support, sometimes makes the depth, makes it flatter, distorts it, shrinks it, makes it brighter or darker etc... Irrespective of the representational or the abstruct, human kind has continued "visioned" light toward art with bringing out various ideas. It is the insubstantial pictorial propaganda; namely, it must be said that it is the revealing history of desires"That's the way you like it to be ".

This time, I used a landscape as a motif for my work, which is recognized as the traditional subject.
Our retinas, which actually receive "light" from the outer world, are two-dimensional screen. Right and left eyes are placed at a separate position so the two-dimensional images that are projected onto each screen are never to be the same. On the basis of this inconsistency, the brain compensates the infomation of the depth. The world that we feel it is the truth, or that is to say; the three-dimensional images are only "indirect processed images" that are re-configure in the brain. So as to compensate and resolve the inconsistency, I added physical damage by brush strokes in the process of the media(paints) changing into an object. I made the different pictorial spaces co-exsist then intensely distorting them.
Just like the words of Paul Klee, "I want to be as though new-born, knowing nothing, absolutely nothing, about Europe; ignoring poets and fashions, to be almost primitive", I have the curiosity that the real world of all the things that I see and watch are in another; this is the reason why I depict. I just want to get back the original vision, which human is supposed to have by nature.

Distortion “H Izumi” - eroded sight_consideration to grasp(capture, hold, find out) the truth_ Magic Square painting No.072

「Distortion “H Izumi” - eroded sight_consideration to grasp(capture, hold, find out) the truth_ Magic Square painting No.072」


- oil on canvas - 1455×894mm - (2015)
“In Japan, as porn video became popular, then pixelization(or mosaic processing) gained recognition; therefore, stereotype, which is “pixelization = obscenity”, is deeply rooted even today. “ (Pixelization, Wikipedia Japanese language translation). As stated, pixelization is the existence recognized as a “negative” phenomenon of a real image which we assume as “thing that we must not catch in our eyes”.
I made this work in the motif of “La Source” by Jean-Auguste-Dominique Ingres. I pixelized the image of the madonna, and I had carefully picked up the colors and the shapes with paying very attention to the features of the paints and the brush strokes so that it would not be just the beautiful sequence of the squares. Also, I used the classical technique such as mixing paints with beeswax. That means I not only made a use of “visual” pixelization-effect as phenomenon but I made it completed to be the opposite of “visual”; therefore, it results in being seen to be very panterly and pictorial, and also it can be seen as a cheap and kitschy work by changing distance to watch, which is to say, it can be seen as only a vulgar and perverted image. This is a trick that it can be seen as a noble paint when watched in different position; farther distance. I put a universal question, “What on the earth are we seeing through art?”, in this artwork of mine. 

「Lose control of the “outline”」


- oil on canvas - 410×410mm - (2015)

In the time of the striking reification, it is said that we are suffering from sensory dysfunction or disease of frigidity. Humans have outlined various things as information to promote efficiency and in the scene that loses the reality as it should be, they are disable to catch feeling of “certainty” toward anything in their eyes. As a result, they make every efforts to promote more information-intensive to compensate it then wavering and losing their ways in the end. 

Our selfish assumption, out of the world from the outline, or the real world which erodes, overflows, melts and evanesces; in a short, this is an artwork to attempt to prove the “Truth”.

「Glowing Night in the Forest」


- oil on canvas - 410×410mm (2015)
Under the proposition of evolution and development, we, the human race, 
have sung ray of hope and repeated to scrap and build as the world ruler because of overconfidence. However, the growth caused by Western civilization and capitalism begins to become dull and the world situation is now being confused. 
Stereotype, values, and “ray”, which have continuously been inserted into our unconscious mind, is now unstable and wavering then deception of its absoluteness (form or Idea) becomes a truism. 
In this artwork, I have developed the subject of “Glowing Night in the Forest” furthermore and I have worked on it on the basis of the theme of my own work “the World Truth which consists of Visibility and Invisibility”. I attempted to show the illusion of the world surrounding us by crossing over “ray” as meaning and “no meaning”.

「Lose Control」


- oil on canvas - 227×227mm - (2014)
The motif for this work is the Christian icon "Madonna" painted by Raphael, the great painter of the Renaissance period. In Christian culture, Madonna is the transcendental and miraculous existence so many religious artists idealized the images of Madonna at maximum and portrayed her. I replicated the one of those completely and melted the images by using a solvent on purpose then making my work completed. By the technique of depicting, paints changes into the religious subject Madonna and it becomes the images which anyone recognizes as Madonna to worship but the images of the subject is melted back to be paints that are just materials. I stopped at its changing point with my intention.
The perception of the truth which we see endlessly wavers and roams between the sensation of matters and the visual. I worked up into a picture which asks viewers "What on the earth is the truth?".

「︎Glowing Night in the Forest」


- oil on canvas - 227×227mm (2014)

At first glance, this painting seems to be an abstract painting but actually, a landscape ofdense forest is depicted. The grey parts are glowing lights through its leaves. I attempted to bring out the bright defined world of "LIGHT", from the inside of the undefined world which the darkness on the space shows out. The abstract space such as the canvas is seemed to be swaying and the motif "LIGHT" repeat to come and go. I depicted in such a way to make vision alternate between focusing on the abstract world and "Light". I painted with the hope of finding out slight but straight glowing lights in the chaotic social condition where people are puzzled to judge what is right or not. 

「and Ray」


- oil on canvas - 273×455mm (2013)

This is my first experimental work that has given me an opportunity to discover the theme of my artwork series “Glowing Night in the Forest”.

What on the earth is art history or art itself? It can be said that one of the answer is to find out light. In any kind of paintings, every artists has described light on the flat supports, made depth, made it flatter if needed, distorted it, shrunk it, lighten it, darken it etc. ― regardless of the concrete or the abstract, humanity has exercise all their ingenuity to “visualize” light in art. This can be said to be just an insubstantial “illusion”. It also can be said that it is the emergence of human desires such as “that is the way I like it to be”. Thus, just like light randomly and naturally shining out through leaves in the forest, I perceive and depict “ray” of hope(desire) in this chaotic modern times which make people blind to what is right and what is wrong.

「Abstract recognition」


- oil on canvas - 455×380mm (2013)

We, Japanese race and ethnic, are now under very weird situation. it is said that since World War II, the landscape and the values of wa ― also often called the values of Japaneseness ― had been blown off by the nuclear bombs. After defeated in war, our country Japan had been much affected by the Western Civilization. Aa a result of it, even though Japan was suffering from poverty at first, it had experienced rapid economic growth and become a emerging nation with the system of capitalism. Then today, there are lots of modern architecture throughout cities and cities. People dyeing their natural black hair, walking in sneakers and boots, eating natto(fermented soybeans), rice cakes and Osechi-ryori(specially-prepared Japanese traditional New Year’s dishes), visiting shrines for new year wishes, wearing Western clothes and suits ordinarily, celebrating Christmas with eating chicken although they are not Christian. Such life styles of Japanese in the post war period seem to describe that they admire and imitate “Europeans” but they can’t ever be; namely, they are a “half finished” existence. Abstract and ambiguous view that cannot reach to any place and anything ― this is the reality and the fateful nature of Japanese today. 

「︎limited unlimited」


- oil on canvas - 227×227mm (2007)
The phenomenological picture in which "visibility" and "invisibility" are in succession is questioning meaning of "vision" which you "absolutely" trust in or "value" itself which assumes that an object is meaningless.The concrete way Yasuharu Isono depicts this work is to put canvas on a panel for the first, then I put oil paints on it and when it get dried, I put oil paints on its first layer again by using different colors. Total is nearly 200 layers, which produce and show this transparent grey. In the last process of this work, I adds subtle transitions of colors and transparency to from the top to the bottom by the boundary in the middle of the picture, producing a horizontal line. The horizontal line contracts the phenomenological picture of "visibility" and "invisibility", which are affected and changed by distances and angles and time. There are no brush strokes and unevenness on the picture at all, and it is the picture that only the above-mentioned phenomenon exists. 

「︎Wave motion of the color that happened in scenery」


- oil on canvas - 910×728mm (2006)
I grabbed one book about the medical field, named "SHIKISAI SHINRIGAKU"(Color Psychology), and I was very impressed by it then producing this work " Wave motion of the color that happened in scenery". For example, in the book, it says "A questionary proves that if blind people grab a piece of a blue cloth in one hand and a piece of a red cloth in the other and they are asked which is blue and which is red, 90% of them can get the right answer"; we feel colors with not only using our eyes but also using our sensory organs in the daily life. It is applied to spacial design; Redder lights are used in cafes and restaurants and bluer lights are used in hospitals and offices. This is because it is proved by a exact study that redder lights make human feel longer time(for example, Actual time is 5 min but you feel 10 min). Blue lights result in its opposite. How human feels colors... I painted this picture by repeating a trial and error.​ 

「86400sec “self portrait”」


- 86400 photos on canvas - 1455×1455mm (2004)

"What am I?"
It is the universal theme that everyone has ever thought of once in life.
"I am being alive with being affected by all the things such as scenes, airs, humans and time that I have experienced with watching and touching", I myself thought as the answer.
This work is the verification of self-formation of human being by grasping 1 day as 24hrs=84600sec and taking a photo of my sight at every second then developing the film by myself.
The self-portrait, which is formed by putting every photo of the different images, is never the same one if only one image is placed at different spot.
The process of this artwork was a valuable opportunity for me to realize that even one scene of casual daily life is precious moment.