Yuta Tamura is a Japanese painter. When he was a child, he was very pensive and often painted many imaginary creatures to play with them. Painting was an everyday activity for him, and it is no exaggeration to say that this habit made him today. His works are filled with a compassionate serenity and a little melancholic atmosphere. For him, painting is the most important means of prayer, just as someone prays to God for help. That is why he is a painter. He believes that we carry our sins with us just by being alive. That sin is not something that can be atoned for in any way, and it just piles up little by little. One can ignore those sins, but he can’t do that. He chooses to face the sins that have been imposed on him. The way he did that was to paint. He never thinks that painting will save him, but he is trying to show that he is facing the sin by painting. He hopes that his prayer will help someone else to be saved.
Can we really say that what we see is the absolute truth in and of itself? If not, where is the truth for me? This is the kind of thought that always crosses my mind. As my tentative answer, I conclude at the moment that the reality is not necessarily in what you see, but what you see in your own mind when you close your eyes is what is true for you. I create my artworks with this belief. In other words, I believe that the source of inspiration for my creations is not in the outside world, but always within me.
In this exhibition, I want to show my botanical paintings and portraits of a woman. At first glance, it may seem that there is nothing to relate the two, but painting plants and women have the same meaning to me. The "time" that lives alongside their beauty fascinates me more than their physical beauty. I can't help but feel a strong sense of "the flow of time that never returns" from the beauty of them. The flow of time is not fast enough to be perceived, but it is definitely there, dynamic and slow. I want to express that in my paintings.
Many of my botanical paintings are extremely deformed for the reasons I mentioned above, but also because I often look at plants in an anthropomorphic way. This stems from the Animist value that everything has a soul.
My works are characterized by a relatively small number of colors used in my works. In addition, I use a lot of gray tones and soft colors and less vivid colors. The motifs themselves also have little movement. In addition, the background of the motifs is very abstract, which gives the works a very slow-moving timeline that seems to be apart from reality. It is as if you are in between reality and a dream, a fantastical time and space separated from the known world that we usually live in. That is one of the truths I have grasped, and I could say the stories I tell through my paintings are like fables when you take a look at them.