The Sceneries are so appealing and they have power to attract people, but they never allow us to come any closer from a certain point. In other words they even seem to avoid us. It is an interesting sight that one thing is attracting and also rejecting people at the same time.
Mikio Urasaki often meets such amazing and mysterious sceneries. Wanting to ‘ re-capture these amazing experiences in himself… and let these experiences become visible again so that others can also experience the same thing…’ becomes the motive for his art works. At first he does everything possible to know how his feelings which went through his body shape the world, and somehow he shakes this world in many ways.
Let us go back to 1985 when he was still a student. At that time he was practicing oil painting but then he found his interests in Collage as a tool to know how the size, shapes and the touch of different materials influence the picture. Different things and objects clash with each other and create senses of discomfort but still some parts fit in and make connections together, and then build new images. This effect seemed very interesting to him.
Around this time he found - as he listened to other people and read some books - that ‘self’ was such an uncertain and ambiguous idea, and he understood that for such ‘ self ’ it was quite difficult to capture or express something to the outer world. For him Collage was such an effective tool to keep a certain distance from ‘ self ’.
At the beginning he used clippings from magazines to make human figures but as to seek three-dimensional effects he started to create works using drifted wood and plaster. However making three-dimensional works did not help him achieve such effective outcomes. Together with facing a new situation after his graduation and some confusion, he had 5 year break not working on his art.
The confusion was gradually settled and peacefulness was regained so from 1994 he started re-working with clippings from magazines again as 9 years ago. But this time he decided to work on painting as much. For the idea of putting himself at a distance he adopted the techniques of Decalcomanie and started making works sticking those pieces together.
Since 1997 he began exhibiting his works every year. Around this time he worked on Collage under the images of existing arts as Cezanne, Vermeer and so on. This was because he wanted to focus on just sticking materials but more than that he wanted to avoid the act of ‘choosing the themes by himself’.
However from around 1998 the sceneries showed some changes and now sights around where he lived were often chosen as subjects. Nearby forest, cherry blossom trees, gardens of azaleas and Asian bog myrtles were the motifs then. Peaceful life seemed to help him notice his close environment. ‘ self ’ was still an unreliable subject, yet he decided to go along with its uncertainty rather than actually giving it up soon.
By the time around 2000 he has come across various attractive sceneries and has come to an idea. What unreliable self has felt and perceived can never reach the real thing. However we can choose to face this activity that ‘ unreliable self - being uncertain - tries to get close to the real thing but instead it is kept away from it ’.
This made him think that he should affirm his unreliable self more and use it not just as a theme but also in his technical way as well. So that since around 2008 he began to use ‘ painting ’ as often as ‘ sticking ’. He purposely uses illusions to reproduce the images captured by unreliable self, and on the other hand he tries to make them relativized.
Nevertheless since around 2010 different ideas start to settle in his mind. It was an outcome from visiting various exhibitions, consuming all the art works he can get his hands on and looking at works of all ages and countries. Surely self is an uncertain thing and so it always fails to capture the subject, however it does not mean that the real subject does not exist… He feels that he occasionally meets divine art works which actually reached the real thing.