"One/Omnipresent Uncountable/The”

 

  This work is set with the work as a transparent concept. The medium is a transparent plate with a back side. The reverse side is a device that hides the illusion of a replaceable setting that is not fixed in the wind that supports the surface.

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  Humans have an imprinted operation of seeing things a priori (engraved fixed concept information = prejudice). With that a priori background, we believe (read as the surface) that the illusion we see before our eyes is real and true. It presents a mechanism for making belief a reality.

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  The work is a device in which a habitual grid of how things are seen is placed behind a transparent board. The surface should actually be something that doesn't change, a surface that doesn't contain other things, but it shouldn't be made to look like that. This is because behind the transparent backside is engraved the "time" of the production procedure. The audience relies on the background that makes up the surface to read the front of the surface. It is a device called the background that establishes the superficiality. The truth depends on the setting behind it. However, it is a mechanism that makes you read the surface of the appearance as the truth without noticing the mechanism.

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  The work is this karakuri, a device that questions the a priori existence of the audience. The device is a surface that presents different points of view.

But? But even if this becomes a priori, it does not call for the need to be read. In addition, it is a landscape of perspectives of endlessly transparent infinity that is arbitrary from the observer, including the artist.

 

  This work adopts the format of copying sutras as an exhibition method from the flow of the “Seed Sutra" series.

 

  A work in the production process is a place of the original scenery of one production work.

  Each work is improvisationally produced and is a landscape painting of the site work of daily activities accompanied by sensibility. The imperfect image of the part is the function that composes the whole, and is the trace of the indispensable ecological form of personal expression. It is a documentary image of the traces of a sudden idea and hesitation. The audience will encounter mistakes, repairs, corrections, and repeated wounds. This is the case with things that you can see up close and squint. Each fragment of the work viewed as a whole is simply a painting that is set as a stain or drip on the painting.

 

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Left, Right,  Across The Passage

 

Gallery entrance

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  “Horizontal Banner"

  First of all, at the entrance to the gallery, there is a banner based on a photo article stretched horizontally on a large screen. It is a photographic video of corpses killed in successive US bombing raids in Afghanistan being placed in front of Charika villagers and praying. Next to the banner, the original article work is placed in a frame. The works with faces cut out and numbered invite us to the image of "face sutras" arranged on the side wall of the gallery.

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  Work “Seed Sutra”

When you enter the entrance of the main gallery, it starts with a plane that looks like a dot painting pasted on a square transparent board with your palm outstretched. (3~ 6 Face Sutra works from the early 1990s)

 

  Closer to one point, concentrated, and if you look closely, a group of bean grains that looks like a pattern with letters written on a transparent plate floats against the background of a mural-like image with letters engraved on the transparent back side. It's a surface that looks like it's on.

Seeds with letters written in the same way are pasted directly on the transparent board. The back side can be seen through the transparent plate.

Is the seemingly relevant and unlikely background a replacement? Could it be replaced? It works as a mystery.

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Facing Front Wall

 

  A single continuous line that resembles an undulating dotted line appears on the 68 transparent panels of different sizes folded on top of each other on the facing wall.

  It is a swell that resembles the Japanese ancient Godess alphabet "Iroha". Up close they are the seed clusters of the example. The parts are laid out according to specific rules, and are disjointed, glued together, or constructive.

 

  A drawing on tracing paper is visible behind a thin, transparent film. They are also zoomed in by changing the scale of the 80 pointillist paintings on the opposing walls, and they can be seen as a whole.

Some have been erased with white, some have been added or rewritten, some numbers have been left as they are. These graffiti-like stains and freckle-like traces are "behind-the-scenes stories” such as notes, endorsements, and personal notes at the production site.

 

  These are things that are usually hidden or unkown.

What does this method, which shows the real rudeness of a child innocently running through a place cleansed with shoes on... what does it say? Mostly, it seems to be a requiem for the unspoken, neglected words, temporary lines and arrows, and the unseen spirits that have been thrown away by the circles... * "These are the return examples of the return image of the balance with the existence of the world. Since it begins with the balance of the universe, it is the practice of the image that is reduced and incorporated into the movement." *Artist

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Front Wall

 

  Arranged in 8 rows horizontally and 10 rows vertically, each piece is continuous as a series. From a distance it looks like an iconographic drawing, and up close it might look like Braille for the blind. As we get closer, the seeds are placed according to various rules, such as lines for the purpose of counting, correction of the order, statistics, squares in circles, overlapping, arrowheads, numbers, symbols, etc., freely. , with letter-sealed seeds attached. Geometric figures, random drawings, scribbles, drawings, notes, just about any possible backing can be seen through the back of the transparent surface. It is a setting that they are placed across a transparent plate on the surface. The back side can be changed to anything, and if there is no back side, the color of the transparent wall, setting that shows its structure will be found on the opposite wall. They are views as one aspect. Even holes are fabrications, even suggestions, fabrications in the name of creation, even illusions.

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Small room Wall

 

  The room on the left after passing through the main gallery. Here, along the walls on three sides, there are stipple paintings of faces (continuous as part of the seed sutra) regularly pasted on canvases of different sizes.

 

  Here, first of all, you will be reminded of the act of searching for a face that you know, who is there, who you know. However, when I look at this, I really think that each seed sutra has its own expression, and you will have the illusion that the characters can even be seen as faces. You may even see it in the sutras. Faces are sutras that tell history. These are letters. These are “calligraphy” of one picture in one period. They are sutras that can be enjoyed or saddened by selfish decipherment.

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Tea room

 

   A room in the tea room. Photo files and video screens of the work. In the middle of production, while you can see the details of the work.

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Not This, Neither That ... 

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  There are no useless, trash, or wrong things in this world.

Things called dust and garbage are equivalent to things named value, honor, and sublime, and are absolute things that cannot be done without. So they exist. This is because their existence is indispensable as the cornerstone of the system of existence, as the manifestation of different aspects of existence, each as a function of existence that complements the other. If it is an unnecessary thing, it does not exist.

 

  In this three-dimensional world, things aren't just tangible things. Thoughts, emotions, misunderstandings, and even illusions are things in three dimensions. I call all these three-dimensional functions 'at' and now. For that reason, I can't throw away things that are "not worthy of existence". This is because small concerns and dust are the “only and absolute” parts. In this exhibition, we placed the passing arrows, mistakes, trial and error, traces of mistakes, as they are behind the scenes. So that they can be seen faintly through the gap of transparency. As a wave action of the hint effect of why it is so.

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  The origin of the work is the meaning of the binding string "Kyo" or "Sutra".

It is an attempt to examine the state of this three-dimensional world, the world of phenomena, starting with the life of an individual, and drawing everything one can think of into a single string. Kariya's sutras, which express the structure of this phenomenal world, are hinted at by the three characters of the Old Testament: "exist now, exist in the past, and exist later."

 

  "Namo Amo Dabo'' in the Buddhist scriptures "Is the now'' in a dream after a near-death experience at the age of 21. This grammatical structure, the simultaneity of all beings born between the mediums in which the description is given, the system of relational relationships, and the archetype of the creative form whose work is the simultaneous life of the production process practice were completed. Its name originally means Immortality, that is, Anonymous. The meaning of expressing that anonymity in this material world is the three characters "is the now” or “THE” is now.

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  The series of written sutras "the now is" was initially called “I-kku Rengyo" or “One Phrase Sutra”. The practical act is used as it was started in the English-speaking world, regardless of the language structure, on the plane when he traveled to the United States in 1977. In addition, literal translations used in German and French-speaking countries are available. In the Japanese translation, there are variations depending on the medium, such as “THE present moment'', “present moment THE”, “the present MOMENT”, “the PRESENT moment”, and “there IS the moment''. All writing utensils such as brushes, ballpoint pens, pencils, sharp objects, and digital pens are used.

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  When, where, what, how, and what kind of connection do you have with these three characters? The intention is to assimilate the current state of the object and the method of production. Therefore, the work is a recorded scenery of the act of writing accompanied by the background of the time, a sketch depicting the way of life at that time, and a copy of the three-letter time description of the simultaneous existence of the world.

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  The feature of this concept and action is that even if the three letters of the tool, “THE is now”, are attached to it, and even if it looks like a huge amount of descriptions such as lotus, there is only one factor that is described, “THE It is "one poem" consisting of three characters "now is".

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  The meaning of the word “sutra” evokes universality, such as continuing, connecting, returning from the origin, uniting, drawing to one place, closing, derivation, origin, remembering one, etc. This is because it contains the meaning of

The purpose is to develop these three-letter sutras in a number of ways and media, and to examine the illusion of their ubiquitousness through landscapes and question-and-answer sessions.

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BrahBrahBrah

 

Copying of the work “Seed Sutra"

 

  The work expresses the limitation that fits within a single frame. The size of the work is the size of the artist's palm. It represents the "scale" of this three-dimensional finite reference value. A handful of grains = about 100 grains is a guideline for grasping the amount. The current work, “Seed Planting Sutra” is the second stage work.

In the first stage, the description on the seeds is basically made in one day, and later the arbitrarily selected works are pasted on a 8 inch (20 cm) square transparent board as a "seed sutra". This is the newly created work for this exhibition. It was called the ”seed sutra'' that sows a new seed, plants it, starts again, and harmonizes the frequencies.

 

  This "seed sutra" was originally started with the purpose of preserving past seed sutra works. Along with that, the reproduction of the same image as the original photographic record began. In the middle of the production process, the Face Sutra work was born in connection with the organizing stage of matching the identity of each seed. This is because, at that time, numbers or arbitrary images other than faces were born in parallel as the reverse side of the seed sutra. The work is also a personal life activity record based on existing works, and it is called a sutra work because it has undergone overlapping meanings.

The process of creation is life, and each step of life is a series of sutras. The sources of the images are from dreams, meditations, memories, drawings of the past, and memo drawings of life movements and thoughts at the time of production.

 

  The small screen is the place/area where seeds live and act in the palm of the artist's hand. If you take a closer look, you will find that it is an abstract sketch of the artist's way of life, a mixture of trial and error, fetters, and hesitation.

  The back side of the work can be replaced. Reflecting the ever-changing artist and this world, you can see the other side. Transparency is fundamental, it's not always true. Because the truth sometimes changes its place and name. The work coexists with things other than that, and develops questions and thoughts as it pleases.

 

  A work is a fluid that lightens the vibration of the artist himself. The arrangement of the works is free and always changing, and the exhibition can be done in any way. Expand freely and indefinitely. All in all, one forgets to question, remembers, takes a step back, enjoys the setting from the standpoint of the movie audience who enjoys transitions, boredom, criticism and ignorance are allowed.

 

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  The work has a double structure and the back side, which is the premise of the illusion = the existence of the background. It works as a replacement. What you see changes and is manipulated depending on how you see it. Beware of distractions, in clouds of illusion that distract you from the background. And the person who gets the vision may rather come vacantly on the way home from the exhibition after all the exhibitions have ended, or come "in the present" while you are asleep.

Gallery