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I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment.

This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work.

I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.
I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment.

This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work.

I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.
I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment.

This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work.

I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.
I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment.

This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work.

I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.
I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment.

This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work.

I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.
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Confidence - Cat, 01 Painting

Naoko Benom-Miura

Japan

Painting, Ink on Paper

Size: 36 W x 54 H x 0.1 D in

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About The Artwork

I struggle when I paint. I enjoy struggling and I think that’s one thing I want to express in the art. But, sometimes, only occasionally, I can paint really fast with no struggling. When that occurs, it almost feels like I’m not the one who is painting, but I am just a brush and being moved by some different energy. That is an absolutely fantastic moment. This piece was created exactly in that situation. I had a lot of confidence that time was going to come even before when I started to draw because I could picture exactly what I was going to draw and I could image I was spreading water on the paper and splashing ink on it passionately as if I was watching a movie. When I started painting, my body knew what to do, and I was just watching my body do the work. I think it has something to do with the time that I performed a live painting event with an improvisational expressive artist, Mika Yamaguchi, at an art festival in a forest in Japan in Nov, 2019. I spilled a bucket of paint on the grass, and then I scooped up a bunch of grass with the paint on it, and started to paint wildly with the grass and my fingers, hands, and arms. That was one of the moments something clicked and went to my core self.

Details & Dimensions

Painting:Ink on Paper

Original:One-of-a-kind Artwork

Size:36 W x 54 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

One day, when I was 8, I had to draw my mom as a homework assignment. After painting my mom's face. I worked on the background, adding bright red. Strangely, my mom's face looked like it shrank as I changed the background. I was shocked to see how colors change what we perceive in our minds and with our eyes. That was when I decided to become an artist. I worked on sketches, pencil drawings, and design all day from morning to night, and sometimes even in my dreams in order to enter an art college. i was able to enter art school in Tokyo, majoring in textile design, and stayed in Tokyo after college to work as a graphic designer. After 8 years of this hectic lifestyle, I felt like I was totally lost. I knew I needed to change everything right then. I chose to leave Japan, and went to Los Angeles, California, and then, to Eugene, Oregon, to work on my art and my life. I worked for a clay artist, and went to the University of Oregon to study more about art, design and English. Then, I worked at a design office as a graphic designer, and another company as a web designer. Now, I know what I was looking for when I was doing that. I was looking for the answer these questions. “What’s my relationship with design? What’s my relationship with art?” I was frustrated that I couldn’t get any answers. I began to think, “If there is a God of art, they must hate me! Fine! I hate them too!” I suffered through a year in which I could not create anything. I deeply realized I just have to keep creating art, otherwise I will be dead, even if the God of art hates me. In 2007, when I was working as a graphic designer, one of my clients misordered and gave me an illustration job, not a graphic design job. But, for some reason, I decided to take that job. That illustration job reminded me of the homework when I drew my mom back in elementary school. I felt like I finally found the answer that I was looking for the whole time! This is when I really started to be an illustrator and artist. After 9 years of living in America, I returned to Japan in 2008. In 2014, I opened an office/ workshop in a little port town in Fukuoka with people who work on town development and planning. I started to consider art from a social point of view. That was also a big turning point for me. In 2017, I started to take story classes with professor Minoru Meguro, learning the art of poetry and literature. I started to develop a broader love for the existence of art.

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