I envision eighteen distinct colors—varying in tone—positioned behind the waterfall. I spent about two years selecting these colors, aiming to capture the sense of awe felt by the people of the Asuka period when they encountered the vivid, unprecedented colors brought over from the continent. The challenge now is the color of the water in horizon.
I considered using orange for the water's surface, but the color was so overpowering that it diminished the presence of the other colors. I experimented with a wide range of orange hues; ten different orange color samples, but the darker the shades tended toward brown. I felt it was unsuitable for the water's surface
I am having hard time deciding the color. My desk looks much like the inside of my head—I am considering every conceivable shade of vibrant orange.
In the end, I decided not to use orange for the water's surface, instead using it as the color behind the waterfall. And as the water's surface, I used a darker "Sanglier" shade to accentuate the colors above —a color not found in Japan.
I visited the Japanese galleries of the Metropolitan Museum of Art. As it is a Saturday, the place was bustling with many enthusiastic visiters. One of the greatest advantages of being away from Japan is the opportunity to view Japanese art in comparison with other cultures; I have always strived to remain at the forefront of this perspective.
One of the reasons I visited the Metropolitan Museum of Art was to see "Giacometti’s in the Temple of Dendur", his works are displayed amidst the Egyptian temple. Giacometti's works stood his ground with great dignity, facing that colossal stone monument. I aspire to possess that same kind of presence.
