Reporter: Ryuji Kanbe(21years old, student)

I went to the Yoshimi Fujita exhibition at the Act-building on November 25 in 1996.
Although I live near the Act-building, I had no opportunity go there before.
This time, I was headed for her exhibition with my digital camera tightly under my arm.
I could see the inside of the galley from the corridor and I looked for the entrance.
Her husband welcomed me with a gentle smile.

Pantomime had just started.
The performer was Hiromi Hosokawa who is active around the Tokyo area.
I was surprised at her great expression because she used all fingers, toes and of course expression.
It was very fun, and I was interested in how families, kids, even fashion conscious guys gazed at her pantomime.

After she finished her pantomime of a big tree, coffee, tea and cakes were served to the
audience. I saw some works of Yoshimi in the virtual galley but this is the first time to see real ones.
Having enjoyed the excitement in the galley, I started to view her paintings on acrylic fiber.
Some of her works were titled and others were not.
I took a fancy to the picture entitled [Jazz Vocal Sounds In A Japanese-style Room].

Her husband plays the blues guitar which is little different from Jazz.
The painting reminded me of his personality when I visited their house.
That's why I like it.
I had heard that it was very popular.
I appreaciated her originals and one of the most unexpected things is that each work has the atmosphere of Japanese taste throughout.
I was surprised at not only her works but also that [Dancing Smell In The Southern Sky] and two other works aren't painted on common canvas.

She told me that when she was painting, she had no special thoughts.
Yoshimi: "I felt that if I painted by instinct my Japanese self would be revealed."
Columnist: "I felt that an abstract painting not only express the artists feelings but other things as well".
About small works, I have already introduced [Jazz Vocal Sounds In A Japanese-style Room]and [I Want To See The Ocean].

They were in a common frame but the canvas had been painted white for the [Meeting Place For Lovers].

I don't know why, but I felt that the former half of the exhibition was mainly paintings of inside of rooms, and the later half was mainly brilliant landscape.
She created big works like [Happy New Year]

in a different way by making a space between canvas and canvas.

She often uses "making space" for the theme of her works, and this work is expressed visually by the title.
Besides this type of space, I could find another characteristic.
These works aren't in expensive frames.
I think that to choose a frame is kind of art but she can't find a good frame.
That's why the two works are contained as one.
The frame was made of common wood.
Why did she do this?
In my opinion, the most important thing for her is expression and to decide the frame is less important.
Though a little exaggerated, I may not say for certain that Yoshimi will grow up as an artist but I feel her　potential which will continue to change always.
It is also the case with ourselves.
If we feel discontent with the tools we create for our basic life needs, or dissatisfied with life itself, life may bring about its own change.
I found another interesting work which used a patio for the motif.

When viewed from the front it seems like a normal painting, but when you see the work from the side, it is protruding from the wall as you can see in the picture above.

Finally, I got to take her pictures.

This picture is good because she looks saucy.