Diaspora
Family Reunion
Year: 2016
Venue: 21 Centry Museum of Contemporary Art (Kanazawa) Material: 5 40-inch displays, plant seeds, moss, coral reef, centrifugal machine, pipetman, urethane foam, digital media, stuffed crow, fossil, glass, etc.
Size: H150 × W1000 × D150cm
The art work with “ tran smission” as theme. The speed of transmission has been explosively sped up thanks to the advances in technology. Luther’s religious transfor m would be have been made possible without typography, and the Internet teaches you what is happening on the other side of the planet. Advertisement and design industries are at the center of it, going to great pains in the daily “competition to propagate” to pass on “new information” that can easily be questioned of its necessity, or s oon pass i nto silence. T hi s kind of infor mation which does not transform into long-term memory, is a vulnerable item that is promised to be accessed with the technological infrastructure. While on the other hand, transmissions and memes (customs, techniques or stories that spreads throughout a culture either verticall y by cultur al inheritance) are the “slow information” that crosses from one generation to another. They are handed down for generations regardless of technology, unintentional ly but defi nitely as if they are secret codes. This work depicts the humans trying to pass on the information by placing it inside their genes during “The Last Supper” before the tec hnology goes extinct. “Objects are what matter. Only they carry the evidence that throughout the centuries something really happened among human bein gs.” Claude Lévi-Strauss
Speculative execution
DRAM [Dynamic Random Access Memory]
Year: 2015
Venue: Chionsha (Kyoto)
Material: 1024 pieces of printed sheet, 16 boxes of paulownia wood, plastic bags, computer, square shaped display, laser printer, and paper shuredder
Size: Print：31.6cm×31.6cm、Installation： --
An installation work using moving images and prints under the theme of “contingency” and “selection”.
Through design works, I often hear requests like “We would like you to show us some samples with this direction.” from the clients. As a result, it sometimes happens that the idea that is different from the one I recommend the most gets to be chosen. In such case, since the fine nuance at the end would be chosen by the clients’ feeling or fetish based on the premise of the mutual agreement of the basic idea, there is a discrepancy between the virtu I have expected and that of them. Through this piece, I had a think about the possibility of “something that has certain value for certain people despite me not selecting it willingly.”
The work consists of countless printed art works. Photographs, colors, and images are randomly picked, laid out and printed endlessly by the program. The printed sheets are arranged on the grids that are used to represent 4x4 (4bit) virtual memory in a Japanese style room. The total of 1024 prints are shown for 64 times, rearranged by the artist for once in 30 minutes. The audience are suggested to “select” one piece out of the works installed, and decide whether to “discard” or “purchase” the sheet. The pieces “purchased” by the audience then becomes defined as a separate art work by itself from the moment. The artist dropping the role of controlling the art work and becoming the part of the system lets the work dependent on the eventuality of the system and the encounter with the viewer, hence the value of the piece exists in the relationship between the work and the audience. During the exhibition, about 300 pieces of prints have been “purchased” to be art works, and approximately 700 were “discarded” by the system and the audience.
NV2M
Year: 2016
Venue: G/P gallery SHINONOME (Tokyo) & Online
Material: --
Size: --
I’d rather be a shellfish
Year: 2015
Venue: Kumagusuku (Kyoto)
Material: Magnesium sulfate, Extra virgin olive oil, resin, brass
Size: Print / 20cm × 40cm、Installation
Jewelry formed in a human body.
All told, internal buildup is excretion, the forming process of gallstone through detoxing (Lever flush program). is to practice a special diet therapy program for about 2 days to release the gallstones present in the liver and bile duct to improve the liver and digestive function by purifying the liver. （※1） By withstanding the suffering of foreign substances into the body and fasting, the body wastes are condensed and excreted as a gallstone outside the body. This is the same as that of pearls. The concept is to intellectualize the correlation of the pain and the beauty by admiring and wearing the waste as fashion, that is derived through “accumulating the beauty by enduring the wrench and rolling up the foreign substance”.
※1:This liver detox program was mentioned in the book "The Cure for all Diseases" written by Dr. Clark (Dr. Hulda Regehr Clark) and is one of the popular home remedies for its high effectiveness in the United States and elsewhere .
88 Runway
Shikoku eighty-eight temples mix-and-match coordinate
Year: 2013
Venue: Shikoku eighty-eight sacred places
Material: Rambda print
There is a marketing term “branding”. This is no longer a word that is little known, which is one of the marketing strategies corporations and institutions take in order to promote the value such as sympathy and trust to a product from the customer. Working around this concept through design on a day-to-day basis sometimes makes me wonder, “What is the different between this and religions?”. On the other hand, in the modern world, shrines and temples have a certain aspect of transforming themselves into a “tourist attraction”, something to be consumed to match our society. In the precinct, you would rarely see a pilgrim with their formal costume, and even when there is one with a white gown with a buddhist stole holding a rod or walking stick, it ironically makes them look as if it is cosplay. To portray this cultural distortion in a self-critical way, this is a body of self-portrait work set in Shikoku eighty-eight sacred places, where gods in a world without gods are played by the artist wearing unisex ready-to-wear clothes in different combination for each places, using gods in a capitalist society symbolizing “brands”, and paths to shrines or temples as “runways”. This is my purification ceremony for having art and part in the daily commercial jobs, by going through unimaginable mortifications of making a pilgrimage carrying a huge amount of garments and fixing up my make-up on boiling hot days.
Ring, Spiral, Loop, Birthday
Year: 2014
Venue: G/P+g3 gallery、Tokyo
Material: Rambda print
Size: variable
Photography, when seen as itself, is no doubt that holds realistic space with a depth. However, what happens if the photography is included in another space? Its outline suddenly becomes visible, and makes you realize that it was just an image. This bears a strong resemblance with the structure of a play within a play. The border between the image and the reality becomes vague, with the world melting world around it. The suspicion arise that our reality is not so sure after all. The value of “what the photo is portraying” and “how the image is treated” might be equal. I weave the images by gathering, complementing, and connecting the pieces of the world that is fragmented and scattering to create a parallel universe that embraced everything.
火神被殺
The Fire-Deity Killed
Year: 2012
日本最古の寓話である古事記の中の『火神被殺（※1）』の物語を通して、福島第一原発事故について考察するフィクション作品（※2）。
※1 古事記の神産み篇における『火神被殺』の章において、イザナミは数多の神や島を生んだのち、火の神を生み、そのことが原因で陰部に火傷ができ、死んでしまう。そして腐って怨念の様になったイザナミは、イザナギを追い、苦しめてゆく。
※2 作中では、火之神が《原子力》に、目に見えない神の存在《放射線》に置き換え、描かれている。
