{"id":2334,"date":"2026-09-12T15:49:54","date_gmt":"2026-09-12T06:49:54","guid":{"rendered":"https:\/\/shinya-yamamoto.com\/?post_type=writings&#038;p=2334"},"modified":"2026-09-20T01:55:17","modified_gmt":"2026-09-19T16:55:17","slug":"mysquares-statement-%e2%85%b4-process","status":"publish","type":"writings","link":"https:\/\/shinya-yamamoto.com\/en\/writings\/mysquares-statement-%e2%85%b4-process\/","title":{"rendered":"My Squares \u2013 Statement V: Process"},"content":{"rendered":"\n<p class=\"has-small-font-size wp-block-paragraph\">In paintings like those discussed in Statement III, where figure and ground are no longer clearly distinguishable, it is the line drawn at the very end that makes the painting \u201ccomplete.\u201d Yet this does not mean that the preceding trial and error has been wasted. What really makes the painting, rather, lies in the traces of that process.<\/p>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\">Detours that once seemed meaningless later yield richness.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped is-style-gallery-cols-2 wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1020\" data-id=\"1835\" src=\"https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-1024x1020.jpg\" alt=\"\" class=\"wp-image-1835\" srcset=\"https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-1024x1020.jpg 1024w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-300x300.jpg 300w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-150x150.jpg 150w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-768x765.jpg 768w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-1536x1530.jpg 1536w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms45-2048x2040.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" data-id=\"1831\" src=\"https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-1024x1024.jpg\" alt=\"\" class=\"wp-image-1831\" srcset=\"https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-1024x1024.jpg 1024w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-300x300.jpg 300w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-150x150.jpg 150w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-768x769.jpg 768w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-1536x1536.jpg 1536w, https:\/\/shinya-yamamoto.com\/wp-content\/uploads\/2026\/08\/ms47-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"<p>In paintings like those discussed in Statement III, where figure and ground are no longer clearly distinguisha [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_locale":"en_US","_original_post":"2060","sns_share_botton_hide":"","vkExUnit_sns_title":"","_vk_print_noindex":"","sitemap_hide":"","_veu_custom_css":"","_lightning_design_setting":{"layout":"default"},"footnotes":""},"writingscategory":[42],"class_list":["post-2334","writings","type-writings","status-publish","hentry","writingscategory-statements","en-US"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.2.1 - 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