Bach’s Violin Concert started to resonate in my head, followed by Guillaume Dufay, creating a sense of further depth to this painting.
The reason was that, to me, the painting represents an infinite number of stars and planets, reminding me of the origin of the universe and somewhere far off in the distance.
I left my home in Aomori and traveled all the way to Tochigi.
On my way home, I happened to stop by my friend’s house. Though I originally intended to leave soon, I somehow lingered there while acknowledging the passing of time.
Looking at the clock in the living room, I thought I would leave in half an hour, but the clock kept ticking down in increments of half an hour.
I thought to myself, “Now is the time to leave,” but felt too comfortable to get going. After a considerable amount of time had passed, I came to notice that it was not just me wanting to chill out.
I found myself repeatedly checking the time on the clock and, at the same time, taking several quick peeks at an abstract painting hanging on the wall, the size of about 40 x 60 cm.
In that instant, the careful observation of the painting made me recognize that I had seen it before and that it was the work of the artist Emiko Horimoto.
The artwork had a core of blue with several blackish lines running horizontally, with a bluish-white, pale background.
Without noticing, I had been held up by this work, in which oil and acrylic were carefully crafted into a delicate piece, which kept me in the place far longer than my intention.
Bach’s Violin Concerto started to resonate in my head, followed by Guillaume Dufay, creating a sense of further depth to this painting.
The reason was that, to me, the painting represents an infinite number of stars and planets, reminding me of the origin of the universe and somewhere far off in the distance.
At the same time, I felt the tones of this abstract painting embodied other artists’ paintings; Philip Wilson Steer’s “Summer in Cowes,” Raoul Dufy’s colors, and Bernard Buffet’s beach images overlapped with Emiko Horimoto’s abstract paintings.
In a sense, the music and the images had expanded infinitely from a single painting, creating the cosmos, a space that transcended dimensions.
And I had a sense that I had finally arrived there.
The works created through the powerful eyes of Emiko Horimoto have a soul.
I believe that is why I felt so comfortable there, not being able to leave and receiving an outpouring of
energy from the paintings.
Horimoto continues to create paintings of energy.
On whose behalf? For her own sake? No, for everyone. She will continue to paint, praying for all the
souls.
Tsunenori Nitobe (Music Critic, Doctor of Musicology, Director of Nitobe Memorial Hall)
(Translated by Ms. Asako Kaneko)
