Why, one wonders, do the paintings by Sumimoto lead to these associations? Perhaps because of the tangible attention for each individual object, painted layer over layer, with palpable concentration and precision. The pictures do not clearly relate to their surroundings. Apparently these are of little importance, and often not included in the painting. It sometimes makes the objects look as though they have lost touch with earth. Suddenly some grey (metal?) cylinders float through the air despite their weight. An amazing paradox. At the same time, every subject and object is very clearly present, and takes on an almost sculptural character. Even the bubbles in the tub with dishes have lost their transparent delicacy and invoke a sense of beautiful lacework made from cement. It is clear that the artist likes form and structure. Is he painting from nature, or from memory? In the past, he painted more from pictures. Houses and roofs were favourite subject. Now he no longer needs the pictures and paints largely from what is in his mind.
Sumimoto is curious. His curiosity is the instrument he uses to call up these images. He is constantly curious to discover what kind of shape will result after the application of colour and shadow, and how to bring volume to this shape.
The paintings seem silent. “There is no movement, not even a breath of wind, in the paintings by Daishin,” wrote Maria Baturin in the Rijksakademie catalogue (2007). It is true. Even the painted tornado appears completely free of movement, a strangely shaped object. Rough, but sturdy and compact. A thing that you might be able to pick up, just like that. It is pleasant to visit this amazing and silent world by Daishin Sumimoto.
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