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**:
- A posteriori disorganization of traditional pan-language value system with reference to linguistics and/or philosophy of language (by extension, extraction of a universal common structure in linguistic phenomena, and its deconstruction).
- Interposition/interference of ‘eroticism’ to 1.
- Applying ‘indeterminacy/contingency’ to 1 and 2.
- Elimination of direct physicality, and reconstruction/extension of indirect physicality in actions of 1, 2 and 3.
- Observation and fundamental re-examination of societal institution through 1, 2, 3 and 4.
- Negation of humanity derived from 1, 2, 3, 4 and 5.
Stated differently, these are intended to deconstruct values 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 these subjects to deconstruct as the mankind's innate matters. Besides, the deconstruction has 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 trivialized personal aesthetic decision. Moreover, hopefully those works will construct radically-new linguistic structure.
*various styles - in addition, I have music activities as solo in experimental music, and also have international collaborated 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 the axis to be applied by the other. Besides, either exists only itself as axis to be applied by the other definitions 3. and 4. not 1. or 2..
***modernism - however, I know that Japanese people have never experienced modernism, that is, there is no (after) post-modernism in Japan. It's ironically Japan's exclusive historical characteristic.
This is Japan’s cultural (also political) illness that should be resolved urgently. The anarchic variations of my expression have come from the reason as no-axis on historical, national (doesn’t mean building patriotism that I hate), and aesthetic context in a way, but they have been done by my rationality.
Therefore "modernism" means an artist's individual goal to strive for to build relation to Western contemporary art (if the system still has been exclusively handled by them) or rebuild alternative perspectives on the basis of rationalism (shamefully late), as I have done rationally.
Nonetheless, then the axis given by it will become an objective to accurately deconstruct 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 the irrational Japan, who make works based on aesthetics after post-modernism of overseas, are merely shameful imitations.
> return to index
Self-denial Practice (physical) 34
Ethical Split 1
Self-denial Practice (ideal)
Self-denial Practice (physical) 14 - 33
Hanged Grammar VIII
Self-denial Practice (physical) 1 - 13
Study for Ethical Split
Grammatical Luxation - A Porn 1 - 7
Multinegation (irreflexive) 1 - 6
Painted Negativity 10 - 20
Painted Negativity 5 - 9
AXIOM/ process 2
Painted Negativity 1 - 3
Money Experimentation (The Permutation Keeps the Intercept?)
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
288 Points Squares Delta
Text_0 / Text_1
2006 - 2007
Study for Collage
Study for Drawing
> return to index