tableau

You let a pencil tip slide over a piece of granulated piece of hot pressed paper. What’s the big deal about this? Logically thinking, random lines of smeared graphite accumulating into patches of different densities all over the open area creating tones and shades couldn’t possibly mean that much. Even if it also assumes color value, why would it become a thing that so many people should care about?
Even the most famous pieces of artwork can be broken down to these simple conclusions if only human emotions and senses were some things that could be easily ignored. After all, what we call “art” can become meaningless scrap if you set your perspective on how practical the item is. There really is no use to the Mona Lisa other than putting in on the wall to look at it and have it decorate the wall – which would also be a way to entertain our vision anyway. The reason why the masterpieces become masterpieces that are worth all the attention and maybe even more than its given, all starts at the point that every human has a “heart” – in a poetic way. Leonardo DaVinci had a set of emotions to his heartstrings, and so did any other artist you can name. That feeling, instinct, and all of what his or her senses bring in as information are condensed into the space flowing from the artist to the medium, to the artwork, and finally to the one who views it. A piece of artwork is there because there was one who created the piece itself, one who made the medium, and one who saw it afterwards.
However wonderful the artwork may be, it has no use unless someone gives it a glance to feel whatever was given to the piece. A masterpiece is not something to let the flow stop, and accumulate – that is just an opening for a person to get rid of their uncalled for emotions. Art is a representative of the one who made it, which is the key that makes it so important in all cultures. And so, like any other person, it has a need to associate with others, as well.
117-2-31 Shifumi Nagase