Hiroshi Kariya was born in Japan and moved to the United States in 1977.  Since then, he has pioneered a form of *self-archaeological art*, researching concepts of existence, language, and the archetypes of artistic creation. Exploring these archetypes begins with the premise that "first," there is existence; "first," there is language; "first," there is consciousness; "first," there is questioning. The Japanese character "元" (moto; source, origin) can also be read as "to begin," that everything begins from "now." Here, the process of creating a work of art becomes a method, a form, and a realization of the work itself, allowing for the examination of the traces of existence and the representation of linguistic structures. These traces are merely a process of trial and error, an ongoing, unfinished landscape. This representation is the "now," encompassing both the visible and invisible aspects of the world we live in, including the universe. Everything exists simultaneously: "is." Here, Kariya begins to write the three words "the now is." "It" exists simultaneously with all events and things. "The" exists equally with things named as trash, dust, or useless. Everything is an illusion of "now," a single entity. Each of the three words is independent and meaningless on its own; they complement each other's meaning, becoming a trinity: "the now is." We, too, complement each other's meaning in a similar way. Fragments encoded as letters or objects speak as evidence of the simultaneous existence of everything, from amoebas to cosmic debris. Meaning is recognized only through the act of being conscious of this "simultaneity." Division, discrimination, and pretense also present a manifestation of the unified "one" illusion.

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　Kariya uses news media articles and images as typical examples of virtual information, collectively referring to his works as "news paintings" or "news sculptures." These are evidence of the virtual present in the information society, examples of time code references. At the same time, they are used for archaeological verification in work management, presenting the illusion of classification, analysis, organization, and management.

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　The work is constant ONGOING "thread" makings. All is from the same source, but with different aspect of life. His early works  were exhibited in his solo show at Exit Art, NY in 1989, and following solo exhibition "SUTRA" at ICA Philadelphia, in 1990.→ Sozansky articles

  “Sutra” Sanskrit; code, thread, string, book binding string, or a scripture. Sacred code, line, measuring line, sequence, column, grid.

   Kariya has exhibited at the New York Armory Show in 2019. MOMA PS1 "Meditation" for the "Sound Show" special project, 1979. Exit Art "Sutra" 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" 1990, "Et Maintenant" ENSBA, Paris, 1998, lectures and exhibitions at sebral organizations, museums, galleries.​

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