太古ヲ想イ、漂イ続ケル | You feel inherence, floating forever.



My latest art project entitled “Into an Ultrablack” began in 2012 in New York City. I was inspired by the idea of darkness in Junichiro Tanizaki’s essay, “In Praise of Shadows (1933),” which indicates deep space of the blackness through traditional lacquerware. Imagining invisible presences that may exist within the dark, similarly, I observe ambiguity still presents in various binaries, such as nature/art, death/life, human/animal, male/female, organic/inorganic, reality/dream, and suchlike. The twilight surrounding these concepts overlaps with multiple narratives―such as the dark history of New York, leading me to generate cryptic imageries beyond such various hedges.

Produced images in my studio practice are the fruits of the session with the site. Surroundings often supply visual elements in my work―the scenery of my commuter’s route, studio environment, and familiar landmarks. Moreover, I acknowledge the past events of those sites. The fusion of these elements and multi narratives sustains the central idea of my works. My previous studio was located in the former Pfizer Building, in which I found a kin relationship with the malformed organisms in my latest work. Yet, malformation also can be seen in sea creatures, vegetables, and human bodies in various causes, including radiation exposure. While the origin of the visual element is uncertain for me, this nomadic way of idea generation enriches the diversity and complexity of the imagery.

My work brings a sense of mystery and Buddhism/Animism through the familiar narratives to me. The communal function of the mountain in old Japan significantly inspires this project―the mountain is considered to be the place connecting this world to the underworld. According to the Japanese folklore called “Ubasute Yama,” an elderly person was carried to the mountain and left there to die. The intimate relationship between a corpse and plants can be seen not only in Japan but also worldwide. Serial killers in mystery films often bring dead bodies to a deep forest in the dark.

Improvisation is vital to my artistic process. In my work, impromptu gestures accumulate to form deep textures and compounded images. Multiple layers involuntarily overlap, leading to unforeseen outcomes. My art is painterly, but it also embraces the specificity of drawing and time-based sequencing.

I explore meditative moments of instability and ways to confront fear through my artistic practice. This approach is rooted in the volatile nature of my experience in Japan―specifically the earthquake in 2011, which caused the infamous nuclear disaster at Fukushima. Such an unstable environment cultivated my understanding of coexistence with nature, allowing me to accept impermanence, imperfection, and insufficiency in my process. Namely, I address the wild factors of material aging, deterioration, and discoloration in my work.









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ニュース | News
太古ヲ想イ、漂イ続ケル | You feel inherence, floating forever.
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ギャラリー I | Curatorial Gallery I
ギャラリー II | Curatorial Gallery II
ギャラリー III | Curatorial Gallery III
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ポートフォリオ | Portfolio (2020)
漆黒ノ森 | Into an Ultra Black (2015-)
ヤマガデキルトキ | When A Mountain Comes Up (2013)
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植物的ドローイング | Plantlike Drawing (2012)
原初の光景 | Primal Scene (2008-2011)
湖の記憶 | Lake Memories (2007-2008)
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情報 | Information
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トップ | Top