Things I've noticed since I started going to art galleries, Part 71

Language becomes more inconvenient the more logically you try to handle it; when what words point to is forced into a certain framework, it tends to conflict with or become incompatible with things that don't fit that framework, but in reality, the things being pointed to often interact with one another.

A landscape painting exists outside of subjectivity in the sense that it is there for everyone.
If it were captured exactly as it is, would it then belong to the world of what is called 'objectivity'? The 'captured' image presupposes the existence of a 'subject/artist' who views the 'object,' including who is looking, from where, and when.

Expression is established by utilizing such simplifications and deceptions, but explaining or proving this through words is extremely difficult.

I feel that artistic expression can grasp the structure of what is being expressed by keeping definitions loose and representing the things it points to in an ambiguous way.

Kanae Funayama held a solo exhibition of landscape paintings, and it felt as if she were grouping two things together as one.

It is as if the ground beneath one's feet and the destination one is heading toward are made into a single entity.

The thing that supports subjectivity and the intentionality are joined together, but that opposition becomes even more novel when you rotate the painting 90 degrees.

Keeping this point in mind, I was reminded of Kotaro Takamura's 'Dotei' (The Journey).

Perhaps the interest of art, poetry, and verse lies in their ability to suggest possibilities that transcend the realms of science and philosophy.