Life Becoming Paintings and That Light

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It was during my artist residency at Tsunagi Town, Kumamoto in 2016, that I came up with the phrase “Life becoming Paintings.”

It spontaneously aroused from my solid sense that my own way of living (or life) is the very thing that connects to discovery of paintings.

From that moment on, life becoming paintings carries on no matter where I go.


For a while after giving birth to my son in 2019, I cried every night to a feeling I have never felt before. I could hardly describe this feeling through words, but still, I felt the urge to remember this as it seemed to be something easily forgotten.

Maybe I could remember it through imagery – I decided to retain the vague feeling through painting rather than words. As I nervously drew an image, trying to be true to my feelings as much as possible, it came out to be a painting that used colors almost monochrome with a white light source illuminating inside it, which seemed like a view from a dark window inside a spaceship. I had no idea what the light was, but anyway, I became sad to realize that I was already detached from it and could not return to that light I saw from the window anymore. Although I was not confident if I depicted it right, that image lingered inside my head since then.

Time flew, and now I live in a life becoming paintings with my son.

As I started farming after childbirth, I was impressed by how everything on earth connects and influence each other, and how my son grew like a seed with programmed speed and ways/manners without educating, being introduced to a new perspective on life.

As I appreciate the change of my heart and body along to the seasons that come and go, I am gaining courage from the fleeting present and the presentiment toward next encompassed within it.


Through this repetitive process, some things I could not help but to reach out and capture, to keep and share to others, became paintings.

The house window I see every day.

The farming field I go with my son.

The strange feeling when I woke up from a nap at my mother’s house to see my son asleep beside me.

The various sparkles of interaction that occurred just when people happened to be present at my live painting at LOKO GALLERY.

Apart from these paintings drawn from my recent life, there is one painting that I have been working on even before my son’s birth – though I have stopped working on this many times, I continued to pursue a certain image despite the complete change of the composition and motif.

Initially it was a drawing of an evening light at the city, then it transformed into a light of the farm field at dusk.

And indeed, it was that light. I found the light – something I thought was distant and could not touch anymore – at the farm field. As I realized this during the drawing process, I discovered that the light was always present in each painting brought from my life. It is the reflection of that light in the form of a landscape. A message left behind the colors.  And now, even in the presence of my son who is closest to me, I can feel the warmth of that light.




幸田千依​​ Chie KODA《色彩からの伝言 / A Message Left Behind the Colors》2024, キャンバスに油彩, 2270×2920×35 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《Still life cross over the time(静物画)》2023, キャンバスに油彩, 1000×803×27 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《母の家、午睡 / A Nap at My Mother's House》2023, キャンバスに油彩, 455×380 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《あの光 / That Light》2023, 紙にアクリル絵の具, 430×505 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《光源 / Light Source》2020, 紙にアクリル絵の具, 295×390 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《初夏の夕方のカフェ / Cafe in Evening During Early Summer》2023, 紙にアクリル絵の具, 455×380×20 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《静物画のためのスケッチ1 / Sketch for Still Life Ⅰ》2023, 紙にアクリル絵の具, 220×310 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《温度 / Warmth》2024, キャンバスに油彩, 333×242×20 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《冬の畑 / Winter Field》2024, 紙にアクリル絵の具, 333×242 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《夕方の畑 / Field in the Evening》2024, 紙にアクリル絵の具, 333×242 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《六月の畑 / Field in June》2024, 紙にアクリル絵の具, 333×242 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《月のある畑 / Field with Moon》2024, 紙にアクリル絵の具, 333×242 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.2.17 立春 / Window Sketch 2023.2.17 First day of Spring》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.2.21 雨水 / Window Sketch 2023.2.21 Rain Water》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.3.9 啓蟄 / Window Sketch 2023.3.9 Insects Awakening》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.3.29 春分 / Window Sketch 2023.3.29 Vernal Equinox》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.4.10 清明 / Window Sketch 2023.4.10 Clear and Bright》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.4.27 穀雨 / Window sketch 2023.4.27 Grain Rain》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.8.5 大暑 / Window Sketch 2023.8.5 Major Heat》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]
幸田千依​​ Chie KODA《窓のスケッチ 2023.11.1 霜降 / Window sketch 2023.11.1 Frost Descent》2023, 紙に色鉛筆、水彩絵の具, 410×318 mm[撮影:大河内禎]