Interview with Dongpu: Painter Yano and his “non-mainstream” works

“After three days, turn off the phone, cut off all contact with the outside world, from early work to late – and if something goes wrong, everything in the previous month may be wasted.” Mr. Yano talked about himself. These years of works, although the things that are spoken in the mouth are almost complaining, but what is released in the eyes is obviously a kind of intoxicating and urgently seeking understanding: “Then you hang them in your own solo exhibition, Put it with the usual oil paintings, as long as you leave for a while, as long as you miss a chance to speak to the audience, they can’t understand the difference.”

“But this is indeed a completely different art.”



Finished the first time Nagano Prefecture At noon the next day, I crossed the Mugikusa Pass in the Yasakayama Mountains, which was wet by the heavy rains, and merged into National Route 141 in Yamanashi Prefecture. Following this road network in the valley, it is difficult to go through a series of small colonies and villages. After the elevation has been continuously reduced, it has entered Beidu City.

Green forests and countless small winding roads began to appear on both sides of the road, and various chic wooden houses tell people passing by that they are different from other places. Most of these buildings are restaurants and cafes, and the number is so large that you can doubt whether the market in this small mountain town with no famous attractions can really support them. Behind them, those trails that lead to the woods lead to one of Japan’s few villa resorts, Qingli.

Mr. Yano’s art gallery is located in such a green forest. After turning a few roads that I had to pass carefully, I finally found this green house, and I have never encountered a passerby along the way.

It was discovered in the art gallery that this was actually a semi-commercial facility with a gallery plus a coffee shop and upstairs rooms. The museum itself also charges a visit fee – but everyone knows that it is only symbolic. (About Japanese art galleries and industry, it will be introduced in the following column)

The main collection in this Gallery is the work of an old friend of Mr. Yano, and Mr. Yano’s own paintings are in the studio behind the coffee shop.

The author went to a personal exhibition under Mr. Yano’s section in Tokyo by a friend’s introduction a few months ago. In addition to a small collection of galleries in this gallery, the exhibition is more of a personality and ingenuity. It is also those works that have given me the interest of the art outsider and contributed to this interview.

To this end, I am very grateful to the friend who introduced Mr. Yano to the author, a freelance writer who studies Japanese classical art. After hearing that I wanted to add some ideas about the Japanese staff and international exchanges to the column, I suggested and accompanied me to the exhibition under the nine paragraphs.


Mr. Yano has a very interesting story with China. I thought it would be the main content in the post column, but Mr. Yano’s work dilutes the influence of those materials, so the first manuscript goes straight to these paintings.

Obviously, these works are completely different from the paintings in the room. Their characteristics have been written in the original words of the interview at the top of this column.

The type of these works is called: Wetco (Fresco)

You may be confused about this name, but you have probably heard of, or actually seen, Genesis and The Last Judgment painted by Michelangelo on the dome of the Sistine Chapel in the Vatican. This is a very old art, or technique, that can make a work last a long time without deterioration. Although it has a long history, it is actually a painting on the edge of the industry, with few experts and thus a non-mainstream new attempt.

As an artist who started to create wet murals after entering the 21st century, Mr. Lost is naturally drawn from the religion, but is as unconventional as his own attempt. For example, the following Zhang seems to take the karst landform of Zhangjiajie as a prototype. The landscape painting, or a picture of a steam locomotive that I saw in the nine-stage exhibition, was firmly integrated into a slate.

In various exhibitions, especially in solo exhibitions, Mr. Yano is more willing to appear in the hall to accompany his paintings and guests who come to observe, instead of hiding behind the scenes and even doing other things from the development hall. Because it’s just watching, it’s hard to find the value of these works – so Mr. Yano will always be patient and personally explain.

This kind of painter may not be very common, but the gentleman smiled: there are not many people who paint this kind of painting.

For more familiar people or important guests, Mr. will always take a smaller size to let people personally measure and touch, and when you take it to your hand, your senses will change completely.

The depth of this feeling may be more than the murals you stand in the church looking up at the dome – where you only feel that you are looking at the murals, and in the gallery of Mr. Yano, listening to the commentary and even touching it Before, you might mistake this for a delicate oil painting.

“The final process does have the same principle as oil painting. Of course, there are more places.” Mr. Yano always tends to emphasize the word “different”. “You are very heavy, because it is a stone.”

Touching with your fingertips, you can feel like you are touching a stone wall, and you don’t have to worry about you going to erase the paint on it, because – “This is not a painting made on stone, this stone, It’s this picture.”

To understand this sentence, you can understand the two aspects of the birth of wet murals or the results of wet murals. From the results, it is an intuitive means. You only need to use Baidu to search for wet murals to get the answer – the storage time is very long and there is no strict requirement for the preservation environment, because it is a stone.

And if you look at the birth of wet murals, it is a difficult process that sounds awkward and incomprehensible. On a certain level, although wet murals are paintings, they are more similar to sculptures: paintings are only created on canvas or on ordinary walls; carvings are made by using materials such as stones; while wet murals are Create a magnificent, long-lasting stone from 0.

“The complete Fresco creation process takes up to one month at the earliest, and 90% of the time before that is used to make this stone.” Mr. Yano’s studio has more paintings, manuscripts, paints, and more. It’s something that can’t be seen in the general painter’s studio – it’s more like a roughing house under renovation. You can find buckets of sand, lime and various molds and tools here.

What It Is Made of Is What It Is To Be

The raw material preparation for wet murals is not to buy some canvases, but to make the “canvas” first. In order to make a canvas, Mr. Yano first purchased the sand for construction. Sometimes he even went to the beach to collect it. After bringing the sand back, the process of filtration, drying, and filtration was repeated in the studio, and finally mixed with slaked lime and then loaded into the mold (this is also made by Mr. himself), and finally became a “canvas” after condensation. “.

After the canvas is done, you can take a break and don’t rush to use it. At this time, it is possible to prepare the desired pigments according to the ideas generated in the previous canvas making process or even earlier. The pigments used by Mr. Yano are also made from purely homemade or semi-self-made ingredients. It is said that natural materials are used as much as possible.

Although this dry powder pigment will be wetted during the final painting, it is obviously not as freely adjustable as the pigment used in general painting, so the wet mural should have enough ideas before creation, and more importantly: absolutely Deep experience in painting.

When the stone canvas is still dry in the mold, you can also use the pencil to make a draft of the next thing to be drawn, but this is the only chance to try to figure it out. The final process to be followed will be a process that needs to be kept tight and not a little mistaken. Even if it is inconsistent with the draft and the expected, it can only persist in the end.

“Or, break it, all come back.” Mr. Yano specially showed me a slow linen bag filled with gravel, and some have been dyed with rich colors – these are due to The results of the flashover, including many works that have been found to have been mistaken or embarrassing.

The final painting process is like this: re-mix some lime and river sand mixed materials, tiling the bottom of the “canvas” in the mold, waiting in the studio, until you can just start painting. At the moment, the painting is completed before the materials are dried.

The time from the beginning of the application to the complete drying is often one day. Within this day, the painter can’t have any interference, can’t eat and sleep, or even linger for a while – even if you can control the temperature and humidity inside the room (in fact, of course, To achieve the temperature control ability of the scientific laboratory, you can not guarantee that the physical properties of the prepared sand and gravel fluid can maintain the effect of starting painting in one time. So as a human being, you can only wait and keep your mind clear, because once you get to the time, you have to work hard.

– Don’t forget what you want to paint and how to paint.

In one day, the paintings are completed and reach a quality that is comparable to other oil paintings. This is the spirit of the painter Yano’s “personnel”. However, it is obviously not enough to have this kind of spirit and energy. Before Mr. Yano began to create Fresco, he spent most of his life painting ordinary works such as oil painting. However, it is because of these experiences that he can start and control this new one. Art and technology

The pigment is swayed onto the dry “canvas”, which gradually penetrates downwards and mixes with it. After drying, it becomes part of the whole stone – this is a mural, unlike oil painting, which is just a layer of paint on paper.

After the wet murals that need to be carefully crafted in the process are completed, there is no need to do other art-like protection work, and take them out of the mold to get a square pattern of rock – as long as it is not Deliberately breaking it, it can be stored for thousands of years under normal temperature and humidity and even more extreme conditions.

“This is the charm of Fresco – You use the time of day to create forever 。“

This is why Mr. Yano is always trying to explain as much as possible in a solo exhibition. Only in this way, people will understand the twists and turns of the above process, and appreciate the value of this art and technology.

The Reason Why

So, if you don’t do this, they have no value?

“Although it is very sad, but the truth is like this.” This answer made the author somewhat unexpected. Mr. Yano did not have a little bit of whitewashing on this topic and the “more confidence (more confidence)” that other artists have.

“Fresco people in Japanese paintings can add up to 10 in total. There are only a handful of places where you can learn Fresco.”

“You might think that this is a very precious and precious thing, but that kind of thinking is too wishful. Why no one understands? Why is there less place to learn? Because there is no market, no understanding – it is as simple as that.” Even in the art circle, people often think that the value of this unpleasant process is not high, so you can also see that these paintings are sometimes sold cheaper than oil paintings.

“As for the reasons, it is actually not the same. Some people think that today’s technology does not need to spend so much effort in the creation process for ‘long-term preservation’, and some people think that short-term creation lacks astringency and no soul. Of course. More is simply because ‘I don’t know at all’.

“But it’s not too difficult to let people know that you just need to let them actually touch and slap, they will have different feelings. I have always insisted on the people who came to watch this, even if they braved.” The risk of being shattered. “Mr. Yano said a very sad expression when he said it here, but after he blinked his eyes, he continued to say “Yes, even if it broke.”

Wet murals of course also bring many other restrictions, such as the painter’s impossible to complete larger works at one time due to drying time problems. The most common size of Mr. Yano’s murals is the size of the computer screen in front of you. If you want to create a picture that is small enough to hang in a large exhibition hall, you need to “work hard” to complete. For larger paintings, only the area can be planned in advance, and each time a piece is completed and then spliced ​​together – the splicing process and the unification of the colors and strokes of the works completed at different times are another two huge problems. .

Then why not bring together these Fresco painters in Japan, and many people complete some works, so that the works can be large enough, but also attract more viewers by the way?

“It’s almost impossible,” Mr. said. “First of all, artists always have their own tempers. It’s hard to reach a tacit understanding. In addition, everyone has their own schedules. The fact is that we have not been able to gather together.”

Like ordinary Western paintings such as oil paintings, wet murals are also imported, so Mr. Yano will not or say that he has no ambition to say “but if you know fewer and fewer people, you will really lose the words.” Some people know, and understand this art, naturally it is good, I have not considered not taking these processes and making videos, but the artists are not omnipotent, and we can’t do many things.

“Just like there are more than 100 art galleries in Yamanashi Prefecture, there are not many companies that are not difficult to operate. The same is true for artists. In this era, such a market can eat enough and do what they want to do. This is enough. “

Asked about his original intention to switch to wet murals, Mr. Yano replied:

“I don’t have the strong sense of stubbornness and ideals of Japanese employees in other industries. I just thought that since I have already done art, why not challenge the limits, do the hardest thing to do, do it, do it.” There is the most memorable process. You have this heart, and art will not treat you naturally. You turned into ash, turned into a plant, and after several rounds, but your mural is still there, it penetrates into the stone. The color is still shining in the sun. “◎


Yohan Yano, painter. Born in Yamaguchi Prefecture in 1950, he studied at the University of Paris IV (Paris-Sorbonne University). In addition to the two art galleries (the Yasaka-Kawagawa Highland Art Museum (the main building and the annex)), some of their works are collected in the Fuji Art Museum, the Guilin Collection Association, and the Chinese Embassy in Japan.

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