人を描きたいけど描けない。未分化の人のようなものが存在する混沌とした風景としてしか描けない。長沢はそれを、ギリシャ文明以来人間を描いてきた絵画と、自然を中心に見てきた日本の画の矛盾ととらえ、風景シリーズとして結実させていった。「風景—◯◯」と題された作品は小品のエスキースと大作からなり、絵具の量も多い。やがて風景のなかから大きな点が増え、これが「盲点」として発展していく。風景は目に映るものから目の中、内側に向かっていく。

I want to paint people, but I can’t. I can only paint chaotic landscapes where undifferentiated human-like things exist. Nagasawa saw this as a contradiction between western painting, which has depicted people since Greek civilization, and painting of Japan, which has focused on nature, and brought it to fruition in his Landscape series. The works titled “Landscape – ◯◯” consisted of both small pieces and large paintings, and he used a large amount of paint. Eventually, large dots increased in the landscapes, which developed into “blind spots. The landscape moves from what the eye sees to what is inside the eye, inward.