My works spreading out various styles* such as drawing, collage, painting, printing, sculpture, video and installation have been principally made on the basis of the following concepts/definitions**:

  1. Posteriori disorganization of traditional pan-language value system with reference to linguistics and/or philosophy of language (by extension, extraction of universal common structure in linguistic phenomena, and its nullificative deconstruction).
  2. Interposition/interference of ‘eroticism’ to 1.
  3. Applying ‘indeterminacy/contingency’ to 1 and 2.
  4. Elimination of direct physicality, and reconstruction/extension of indirect physicality in actions of 1, 2 and 3.
  5. Observation and fundamental re-examination of societal institution through 1, 2, 3 and 4.
  6. Negation of humanity derived from 1, 2, 3, 4 and 5.

Stated differently, these are intended to strip out/deconstructively negate values which are in social institutions (defined as classes of language issues), and institutional coverups (defined as classes of non-language issues which consist of eroticism and violence et cetera). I define the above two subjects as the mankind's innate matters. Thus the negations have aims to deny the existing value of humanity.

Now the works via this way of conceptual setting and expression, can be linked to various contexts of contemporary art in term of ‘modernism’***, but they are created as works which have new criticism through my inner nihilism, with strict processes which would throw out the contexts to further relativizing. The processes completing with bringing in indeterminacy of automatism, random digits, and the foregoing physical elimination/extension, are due to skepticism toward trivial personal aesthetic decision.

*various styles - in addition, I have music activities as solo in experimental music, and also have international collaborated works, which have been distinguished from visual works. See here.

**definitions - the above definition 1. and 2. can switch the order applying/being applied each other. And there are (rarely) cases that they either or both don’t compose an axis to be applied by the other. Besides, either exists only itself as an axis to be applied by the other definitions 3. and 4., not 1. or 2..

***modernism - however, I think that Japanese people have never experienced modernism. That is, there is no post-modernism, that means there is no longer other modernism-related ideologies in Japan except the economic development. If rational modernization is the condition of Contemporary Art, Japan can never realize it. It's ironically Japan's exclusive historical characteristic, and cultural (also political) illness that should be resolved urgently. In a way, the anarchic variations of form of my expression have come from the reason as no-axis on historical, national (this doesn’t mean building patriotism that I hate), and aesthetic context, but they have been done by my rationality. Therefore, the term ‘modernism’ here indicates the following two meanings: firstly, it is thing which includes History of Contemporary Art that The Western World has led. Secondly, it is Japanese artists' individual goals to strive for building relation to Western Contemporary Art (if the system still has been exclusively handled by them) or rebuild alternative perspectives on the basis of rationalism, as they have done rationally. Nonetheless, then the axis given by it will become the correct objective to accurately be stripped out/deconstructively negated by myself. Stated differently, things that I have done by making works, is to start experiencing modernism over again individually and personally, to relativize it without the following shame; works by artists in irrational Japan, who make works based on aesthetics after post-modernism of overseas, are merely shameful imitations. Through those process, my anarchic nihilism in my expression will be given The Official History.

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Room Aroused (version)

Optic Scissure 16 - 20

Bipolar Tangency



Room Aroused

Sex Document 1989

Sex Alchemy

Optic Scissure 3 - 15

Ethical Split 2 - 3

National Portrait

Self-denial Practice (physical) 39 - 40

Self-denial Practice (ideal) 6 - 8

Hanged Grammar XIII - XVI

BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 12 - 26



Blood Drawing

Self-denial Practice (physical) 34 - 38

Self-denial Practice (ideal) 2 - 5

Hanged Grammar IX - XII

BLACK CORRECTION (with cultural suicides, social scatology, educational feces, expressionistic ejaculation, and you) 1 - 11



Blood Drawing

Ethical Split 1

Self-denial Practice (ideal) 1

Self-denial Practice (physical) 14 - 33




Terrible Events

Hanged Grammar VIII

Self-denial Practice (physical) 1 - 13

Study for Ethical Split

Optic Scissure 1 - 2




Grammatical Luxation - A Porn 1 - 7




Multinegation (irreflexive) 1 - 6

Painted Negativity 10 - 20




Painted Negativity 5 - 9

AXIOM/ process 2

Untitled Collage





Painted Negativity 1 - 3

Money Experimentation (The Permutation Keeps the Intercept?)

Texual Demeant

AXIOM/ process 1



Hanged Grammar I - VII

Untitled B&W Drawing 1 - 3



Text_2 to f

Sickly Error Text

Paradoxical Foregrounding Of Work And Artifice That Are Existing Behind
500 Sheets Into a Mass
497 Times Same Acts Containing Tiny Differences

Roman Collage

288 Points Squares Delta




Text_0 / Text_1


2006 - 2007

Study for Collage

Study for Drawing

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