While Yumi Takimoto's works possess a clear presence of paint, they never feel suffocating to behold. The thickly applied colors and white paint seek equilibrium within the canvas, and this interplay creates a quiet tension. Strong colors, occasionally interspersed within a subdued palette, tighten the composition. My initial impression was that despite the lack of obvious flashiness, her work was captivating.
"Never straying"
For Yumi Takimoto, painting "was part of daily life and also something that protected me, so there was no reason to stop. Rather than choosing to be a painter, I think it's more accurate to say that I never strayed from being one." This seems to be her honest feeling.
She says, "I turned to abstraction because of a feeling of discomfort with 'drawing.' The time I spent touching the paint itself was clearly more powerful than trying to skillfully depict subjects. From that realization, I let go of subjects and began to assert that I was 'painting paint.'" These words sound less like a declaration and more like an honest description of her own creative process, arrived at after a long journey.
Paint, Canvas, Self
She told me that what remains consistent in her creative process is this single point: "painting paint." She explains, "The weight of the paint, its dryness, its density, its accumulation. I simply place that directly onto the canvas. I rarely decide on the colors or composition from the beginning, because the moment I decide, it becomes a task of working towards that decision, and it ceases to be creation."
"It feels more 'factually trustworthy' to accept what remains as a result of the interaction between the paint, the canvas, and myself." There is an honesty in these words as a creator. Takimoto says, "Not controlling too much from myself, maintaining that state of tension – that's the most difficult and rewarding part."
Takimoto's beloved palette knife
Density, and the space of white
When I look at her work, I get the impression that it has depth but isn't heavy. The paint is built up, yet the canvas breathes. This is no accident; Takimoto is highly conscious of the relationship between the density of the thickly applied paint and the areas painted white. "If it leans too much in one direction, it quickly becomes illustrative. I constantly search for that precarious balance." It is precisely because density and emptiness are in tension that the viewer's eyes can move freely within the canvas. I believe this tension creates the breathing of the work.
Not assuming you understand
Takimoto says, "Creation is about refining the accuracy of judgment." "Taking proper responsibility without deception. What I'm conscious of as I continue is not assuming I understand. The moment a method becomes clear, it immediately weakens." These words convey a sense of tension that prevents her work from becoming habitual.
"Experiences of how to turn a painting into a good one when things went wrong, rather than when they went well, lead to the next step." Beyond the finished work lies an accumulation of countless judgments and failures. "Rather than inspiration, it's about not ignoring and instead picking up those 'slightly unsettling' or 'somehow not quite right' feelings that arise during the creative process." This steady back-and-forth is the reality of Takimoto's creative practice.
Spending time with the work
"How you view a work is completely up to you," Takimoto says. There's no single correct way to see it, and it's fine to change your perspective. She would be happy if her work could be something that catches your eye at an unexpected moment and subtly shifts your perception.
"While paintings appear static, they are actually a fleeting moment of something quite dynamic." These words also left an impression on me. A work of art is constituted by the sense of time and body. Therefore, if your perception changes over time, perhaps that is a sign that the work continues to be a truly "good painting."
There are other artists who feature thick paint and palette knife techniques. However, Takimoto's unique appeal lies in the sufficient density packed into her smaller canvases and their quiet demeanor that blends seamlessly into Japanese living spaces. When you see it, you know it's a Takimoto. Her work possesses a distinct personality that makes you feel that way.
I imagine the day when someone who encountered Takimoto's work at a good view might eventually stand before one of her oil paintings in person...
