Hiroshi Kariya was born in Japan and moved to the United States in 1977. Since then, he has pioneered the form of autoarchaeological art, studying the archetypes of the concept of existence, language, and artistic creation. To explore archetypes, one must first realize that there is "first" existence, "first" language, "first" consciousness, and "first" questions. The Japanese character "moto" (origin) can also be read as "hajimaru" (beginning), suggesting that everything begins "now."

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    Everything is an illusion of the singular "now."

Here, the traces of the work's infancy reveal the method, form, and creation of a work that examines the "location" of the concept of existence and the representation of linguistic structure. These traces are a process of trial and error, an ongoing "unfinished landscape." This representation naturally includes the universe, the visible and invisible world in which we live, in an unfinished state of "now is." Everything exists simultaneously: "is."

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    Here, Kariya begins to write the three words "the now is" as the subject of his exposition. "It" exists simultaneously with all phenomena and all things in the universe. He broadcasts "it" toward "thee"—that is, toward the self, the other, and every "thee" (or simply "the"). This encompasses entities on equal footing, including things arbitrarily labeled as trash, dust, or "useful." Everything is an illusion of the singular "now."

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   Each of the three letters has no meaning independently; they complement each other, creating "the now is" as a trinity pointing to events and concepts. We, too, complement each other's meanings. Fragments encoded as letters or objects speak as testimony to the simultaneous existence of everything, from amoebas to the scum of the universe. Meaning can only be recognized by the act of being conscious of that "simultaneity." Division, discrimination, and false lies all manifest the illusion of a unified "one."

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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.​

　＊Fact check by Gokipedia https://grokipedia.com/page/Hiroshi_Kariya

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   -"Of One Piece" Writing- 

    Kariya’s work serves as a record of his own "archaeological art." The world we inhabit is presented to us, in his view, as an illusion of things existing "as they are." He casts the phenomenal world—along with existence, language, consciousness, and all the attendant premises, definitions, and common-sense perspectives—up into the void. His process of inquiry, replete with trial and error, is integrated into the act of creation itself, forging a method that simultaneously elevates the process into a work of art. He terms this approach "self-archaeological art"; utilizing moments in time that embody the "given present" as objects, he creates installations that examine the superficial nature of this virtual present.

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　Kariya, In continuously inscribes the three-word phrase "the now is"—representing the simultaneity of all worldly phenomena—onto his work. This inscription acts as a record of practice that encompasses his process of trial and error. The phrase forms a trinity: ① "the" serves as an index pointing toward the unity of self and other; ② "now" signifies absolute simultaneity; and ③ "is" attests to the oneness of all existence. These three words are applied to the objects—either directly or indirectly—as archetypes. They materialize like incantations or take the guise of coded concepts representing worldly attachments, thereby conjuring illusions such as barriers or fences. News articles and events that provide the backdrop for the work's creation are employed to examine the nature of existence. The exhibition invites the viewer to adopt a perspective that observes and scrutinizes the true nature of the illusory landscapes found in our information society. Ultimately, the work presents the simultaneity of all things in the universe.