It is all about the one piece and millions of others

I certainly that I stepped into the space of mizuma Art Gallery exhibition was held twice. But at that time I was wondering where I really was? How I could think like the way I feel from this exhibit to see the detail consists of more equal-sized pieces and also superior of all spatial experience. And the space was a different dimension and sum of just one piece.

I think in my own words in English of that “the now is” that Kariya, has been writing to the seeds since 1984. The specific of Demonstrative Pronouns of 'the' "now" present moment motion exists in space "is". Is not that the spatialization of time, shows that this term is a disconnected time.

It can be said that the history of art of the 20th century or later is a history has expanded the representation of space in the dimension of time. For example that is up no trace of Jackson Pollock's abstract expressionist paintings with action painting of his time. Its time in organic actual time herein. But Kariya exhibition space represents from time of time in reverse. Kariya's seed Sutra shows first traces of life in his daily.

His “the now is” written each day a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles.

In this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written. Occasionally include the famous people in those photos cut out from the New York Times that, at a glance, but is most unknown person, and the whole face was cleared of a huge flock. In the human self face to ensure the identity of one of littleness to seed and anonymous that is transformed to a collection of materials.

And you will find the work, entitled and should think of as a negative face Sutra series, on the left wall of the Gallery entrance, on top were on large photo display, with all face cut out image of "Rocket Attacks Attacks In Afgan Village' In a collage of news photographs depicting the Afghan villagers, standing mourning the bodies of men were covered with a yellow-green blanket that was killed by a Taliban-fired rocket-, news article entitled the article.

Being clipped face here, and clear of seed-sized. pettanko et bozu a newspaper article which was changed in the face. Kariya made clear their face is that of death. In the denial of death, of emptiness. Behind the faces of the people of seed-sized of the same people I pettanko et bozu, are stuck face. I extinguished by the power of death and the myriad things changing.

Seems to be deep and thorough flatness of Kariya's work also. Three-dimensional depth created by God there is "I" and the inner surface of support system does not exist. We are intently watching the surface of the acrylic plate of them were spread like piece of skin, that is possible. However, once you look closely at the acrylic sheet, and its screen is noticed can have a very expressive figure wrapped in vinyl plastic letter Board, paper, and ink of seed that emerges.

Look closely the patterns of its diverse seed, wriggling in the genome of genes, from a distance, looks like human skin organic and sensual. Especially 3.3m by 2.1m sized large work, made specifically to fit this space of Mizuma Art Gallery, flock of seeds huge work of “Mizuma One Stroke Dotted Line, 10,000 pcs”, rolling very snake-like Figure-8-shaped, powerfully, was especially impressive in the exhibition.

Let me return to my initial question, when I was enter this space. "I was there where Kariya entitled of this exhibition" It (it) "and named impersonal and anonymous space. The space has based repetitive acts of the day to day, then Kariya, after this exhibition going back there again. In the exhibition space is open to such mundane time because no beginning nor end it. Obsession with Kariya, such It is refer to On Kawara’s infulence from the seem to like high-impact.

However, unlike Kawara which is closely approaching Lady Maid in the "TODAY" series which thoroughly implements conceptual anonymity, in Kariya's work manual workmanship is reviving. Shinichi Takeshige (Critic) by Google translation 1/13/2018~2/10/2018 Mizuma Art Gallery, Tokyo, Japan http://mizuma-art.co.jp/exhibitions/1801_kariyahiroshi/