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Interviewed by Moe HIGUCHI   (Assistant curator of Mie Prefectural Art Museum)


“M”=Moe HIGUCHI (Interviewer) “H”=Yasutaka HAYASHI (Artist)



M: It’s too fast but first of all, what’s the main reason of influencing you to decide for continuing drawings.


H: When I was a child, playing only oneself was my favorite. During my senior high school, the teacher of arts influenced me to go to gallery and art museum; in that moment with my techniques in painting inspired me to do.


M: In Mr. Hayashi’s drawing, I have not seen an image of person. Why?


H: Because through personal picture it may discovers the existing relations of the personal characteristics and the artist. To set apart the emotion of an individual and the meaning from the subject of my products.


M: Okay, How do you decide in getting to draw? Please tell me the queue.


H: Before the production, I usually first taking the pictures and then put it in the computer files then getting selection to draw. The picture which is easy to forget is my first priority for the selection.


M: It’s your basic purpose in conducting action, the recollection of the memory of your selected pictures from the computer.


H: Yes, recollection of the memory is one part of my product’s theme.


M: Maybe this is personal, when you look Mr. Hayashi’s drawing in one time, in two times or in how many times, in that moment little by little you can see and feel the image point of the drawed picture.


H: Memory is distinctly strangeable matter, as well as the sense of vision.


M: In other words, you thought that your unforgettable experiences conducts you informing the products.


H: Yes.


M: What’s the importance in creating your products?


H: I thought the importance of my products is the processing as well as the ways of choosing motivation; after I drawed I’ll finally taking deletion to put it out as it means that the product is already has a significant completion.


M: In your products, there are coloured and monochrome works, how do you differentiate it?


H: Differentiating the colour is to balance the different seen and unseen motives of my work. The basic object of my work is to shorten the visual information, but if the serenely of the surface is insufficient it needs to use colouring to contents more information.


M: Unfortunately, this is only for the purpose of controlling designation; is this no relation to the variation of the feeling and sentiment?


H: As what you said.


M: How do you capture on coarse brushing and probable light layer of the paint when the impression of the object is unexisted? And how do you capture the boundary of the wall and the products?


H: Nonexistence of impression of the object has a very valuable point.

When the picture and wall became to dispersed, the memories shall possess the meaning.

Complete products can reflects directly on the wall. Perhaps it is good or not, however to avoid easy conducting of ideas, simple and thoughtless product it should be utilized the procedures on how to draw.


M: Painting picture has a meaning indeed.

This is the last, for Mr. Hayashi, painting is not only an expressing of an image of feelings inside from his heart, and not for only the means of communication to the other individual but it is justifying the means indeed. 


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