手執鋼珠筆，一點點，聚成線，形成景。每一面海都混雜著不同的藍。素描對しゅんしゅん shunshun來說猶如禪修，反覆地做，呼吸一般，安安靜靜，沉入內在深海。從事建築多年的他，於七年前開始成為素描家，想把風景素淨的原貌描繪出來。
Held in hand, a ballpoint pen can make dots, which join to become lines, eventually forming a scenery. Various shades of blue are blended into each sea surface. To しゅんしゅん shunshun, drawing is akin to meditation, both done repetitively, as in breathing, calm and silent, sinking into the deep ocean within. Having worked in architecture for numerous years, he became a drawing artist 7 years ago, and through drawing, he hopes to present sceneries in their simple original form.
大學時去歐洲看Peter Zumthor的建築作品，剛到埗沒多久就把相機弄丟了，他只好用紙筆把眼前影像描下，卻發現這樣畫很有趣。當面對眼前事物，仔細地看，不單看個梗概，著眼每個小小的點，不一樣的東西就會跑出來。回到日本後因不想忘記那種感覺，所以每晚他會用15分鐘畫下身邊的東西。他慣用的筆款是常見的三菱極細與超極細系列，隨便就能買到，用起來輕鬆沒壓力，直到現在也一直在用，藍色或黑色的。已經十五年了，他開始把用完的筆儲起來。
During his university years, he once made a trip to Europe to see the works by Swiss architect Peter Zumthor. However, not long after he arrived, he lost his camera. He had no choice but to use pen and paper to draw what he saw in front of him, a process which he found amusing. Facing what was present before his eyes, he paid close attention, without looking only at the outlines but focusing on each and every little dot, not only on the structure, then something different would emerge. After returning to Japan, he did not want to forget this feeling, so he spent 15 minutes every night drawing things surrounding him. He is used to using the common ultra-thin and extra ultra-thin series by Mitsubishi, which can be purchased easily. Using them is easy and effortless, and he is still using the blue or black pens in the same series at present — it has already been 15 years, and he began to keep the used pens.
決定成為素描家時他搬到了廣島生活，畫裡開始看見更多自然景觀，譬如瀨戶內海。而他只以點或線就能描繪光。「大自然裡面應該不存在我畫裡的這些線吧。」某次他觀看蠶吃桑葉的行為，牠們會把頭使勁向前伸，然後一邊啃桑葉，頭一邊往回縮，然後再向前伸，再往回啃，一直重複。shunshun就是因為這樣而畫了作品〈海／素描〉。來來回回，他在紙上做著蠶的動作。他笑說：「我不知道可否稱為繪畫，我好像只是在畫線。」
徒手畫線的時候，身體難免顫抖，線條便會搖晃。「有次我覺得好像失敗了，很沮喪，但當我再看一次的時候，發現它看起來就像波浪。」由那天起，線條就成了他一種非常重要的表達方式。
After deciding to become a drawing artist, he moved to Hiroshima, which brought more natural sceneries into his drawings, such as Setonaikai, the Seto Inland Sea. He uses only dots and lines to present light. “In the Great Nature, the lines in my drawing probably do not actually exist.” One time, he observed how silkworms ate mulberry leaves. They would push their head forward, and while munching on the leaves, they retreated their head and then push forward to munch again, over and over. This has inspired his work “sea/drawing”. He copied silkworms’ movements, forward and backward, on paper. “I’m not sure if this can be regarded as drawing. It would seem I was only drawing lines,” said shunshun, giving a laugh.
When drawing lines with bare hands, one cannot avoid shakes in the body, causing lines to deviate at the same time.“Once I felt frustrated as I had a feeling that I had failed. But when I took another look, I found that it looked just like waves.” From that day on, lines have become a very important mode of expression for him.
「我想記錄跟我心裡共振的東西，如看到大海時所感受到的寧靜。隨年月累積，我希望能看到我體內大海的輪廓。」
shunshun的畫集《drawings》、《drawings II》現在可於Midway買到了。
“I want to record what resonates with my heart, such as the serenity I feel looking at the sea. I hope to be able to see the outlines of the sea inside me through years of experience.”
shunshun’s collections drawings and drawings II are available for purchase in Midway.
