Clinging to the Right to Dream

All of us are burdened with some form of destiny and strive to accomplish something in our lives. Although we are pushed away from the ideals we entertain as autonomous individuals, the primeval landscapes and emotions within us overflow and ooze through the cracks in a covering of information. In the swirl of civilization, I create works using a variety of media to give visible form to the questions I pursue. 

By continuing to make installations and drawings, I have attempted to create images of the world by examining the connection between people and space. Exploring the images of the world that arise from narratives, which were transmitted by the human voice prior to the emergence of the written word, in the contemporary era led me to produce video works.

Since starting to work in the video medium in 2000, I have made 27 works. I began by documenting intentional movements I performed in installations. And since rereading the Japanese translation of Heidi (written by Johanna Spyri in 1880) at the age of 44, I began to include my age in the title of these works. In these site-specific pieces, I disguise myself as the elderly Heidi, still roaming the mountains in search of memories. These scenes suggest the innate human yearning and uncontrollable fear of nature. The primeval landscape, concealed within us all, emerges here. The narratives are never resolved. Connecting images and sounds in the same way that a few temporary bridges connect different places allows me to imbue the pieces with accidental and arbitrary qualities, and bring out a new element, allegory, from the images. By combining various eras and cultures, and extending into the present by virtue of the fact that a living person made them, it is my hope that the works will serve as devices that resound with viewers on the deepest human level. 

As my video works have continued year by year, it has become natural for us to transmit information through images and image recognition. After I began using a social-networking site, I posted an image of a picture I had made on the Net. I decided not to stick to a uniform material or method and made a rule that I would also publish my failures. In the process, I received a variety of comments about my pictures, and I also had the opportunity to engage with people who would never have visited an exhibition and receive unrestrained written accounts of the feelings that the pictures inspired in them. Before I knew it, I was able to present the actual works in an exhibition. When these fragments, which I titled Ms. Piece, were arranged in chronological order, it was hard to believe that they were fragments at all or that they had even been made by the same person. In human growth, image recognition is the first method we use to remember things. This experiment, which I have continued since 2011, helped me understand what a tremendous influence images have in society and in an era marked by so much change in culture and civilization. Before I sleep each night, I send a picture out into the desolate landscape of the Net, which extends to places where art does not usually reach. Each of these, abandoning there like the dead, is proof of the living.








2014年 4月



















2014年 プルシャ制作メモ