Hello. I am Terashima, the representative employee of Jibun Rashiku LLC.
On August 6th, the momentous 80th anniversary of the atomic bombing of Hiroshima, I had the honor of participating in a special live event titled 'Ask the sky on August 6th: Drawing, Playing, and Speaking to the August 6th Sky,' organized by pianist Chizuru Omahe. It was a deeply memorable evening, sharing thoughts on peace with many people in the intimate setting of Gorey Cafe 2F.
Unpredictable Art and Sound Resonance Born Right Before Your Eyes
This event marked my second live painting performance on August 6th. What was particularly noteworthy was the proximity of the venue at Gorey Cafe. The audience seats and the painting area were so close that I imagine everyone truly felt the intensity of art being created right before their eyes, almost to the point of worrying about paint splattering. My live painting style always involves applying paint directly with my hands, without a brush, so I believe the way colors spread from my hands and body, responding to the sound, was conveyed even more directly.
This time, I prepared a special surprise, looking forward to 'pleasantly betraying' the expectations of our attendees.
The event opened with a heartwarming picture book reading by Nao and a piano performance by Chizuru Omahe. Nao's reading was truly wonderful, drawing the entire venue into the world of the story.
Afterwards, as Omahe-san's improvised free performance continued, just as I was expected to start painting, what I actually prepared was special paper that draws with water and disappears when dry. Then, taking not painting tools, but cleaning brushes and sponges, I called out to a few guests and invited them to draw freely on stage.
With tools that couldn't possibly create a 'good' drawing and an environment where there was no worry about getting dirty since only water was used, the guests seemed to enjoy drawing with the flow of the moment and pure curiosity. After the stage performance, seeing the cooperating guests' exclamations of 'That was fun!' and their sparkling eyes, my own heart was deeply moved.
As the rhythm of Omahe-san's performance changed, I switched from the disappearing paper to a large panel, and from there, I danced while painting.
After the live painting with Omahe-san concluded, we took a short break before returning to the stage. This time, I painted on a different canvas, accompanied by the sound module and flute played by Takeshi Sueda, originally from Hiroshima. Responding to more powerful sound waves, my body resonated with the music, and colors spread across the canvas. Because it was an improvisation without prior discussion, I couldn't predict what sounds Omahe-san would play, what sound world Sueda-san would create, or when the performance would end. By diving into that 'unknown' space where anything could emerge, my senses were sharpened beyond thought, and the entire venue seemed to be drawn into a vortex of sensibility.
The 'Vortex of Empathy' Evoked by Live Painting
As I talked about this experience, I had a surprising realization of my own.
"When people see me dancing, applying paint with my hands, and sometimes even throwing paint freely, perhaps they are also throwing paint in their minds along with me. I believe everyone secretly wants to dance and paint freely. By doing it in front of them, I create a simulated sense of doing it together. That's why watching the painting might energize them or make them think, 'Maybe I should try it too?'"
This was also the moment when one of my own reasons for doing live painting became clear. While it might be an event where, from a rational perspective, one can't predict what will happen, precisely because of that, if we consider current issues like nuclear problems, war, and environmental concerns with liberated sensibilities, different ideas and perspectives might emerge.
After the performance, journalist Toshiya Morita took the stage. Mr. Morita shared invaluable stories not covered on television: how the first victims of the atomic bomb were not Japanese but Americans, how many Americans have already been exposed to radiation through repeated nuclear tests, and his personal story as a second-generation atomic bomb survivor and tales of his mother. These heartfelt truths likely provided each participant with a precious opportunity to deeply confront nuclear issues and peace from a new perspective.
I extend my heartfelt gratitude to Chizuru Omahe, the organizer who gave us this special opportunity; to Takeshi Sueda, Toshiya Morita, and Nao, who delivered wonderful sounds and narratives; to everyone at Gorey Cafe for providing the venue; and to all our esteemed guests who attended.
Work created with pianist Chizuru Omahe's improvised free performance
Work created with Takeshi Sueda's sound module and improvised free performance