2022
Despite the imagery's resemblance to watercolour paintings, the block-like shapes are in fact the outcome of exposed layers from the post-processing photographic technique. This technique involves exposing layers of the photographic process, creating block-like shapes that bear a resemblance to painterly forms. By exploiting the possibilities of collage, Fujiwara constructs and arranges these fragments into a new reality, employing a highly personal brushwork that seeks to unify and revitalise the composition. Tracings are transformed into layers that retain plain colours, exposing an expressive, painterly gesture that breathes life into the work. The resulting images create new forms that eliminate the precise depiction of the subject matter, emphasising instead the two-dimensional flatness of the medium.
Fujiwara's practice is driven by a critical exploration of how visual information affects individuals and society, and his manipulation of photographic images constitutes a rigorous confrontation of the limits of representation. By repossessing his past works, the artist translates existing elements to the color field on the software, thereby reviving past procedures within a symmetrical language that expands the possibilities of the photographic medium. Through his innovative approach, Fujiwara challenges conventional notions of representation and perception, inviting us to reconsider the relationship between photography and painting.