A multi-layered view of the world,
I try to blend not only new things but also things that have appeared in my work or have been kept unused.
I have an overview of a piece of work made at that time, at a platform called the present.
They extend to a different event; another layer is piled up in work.
By doing so, we adjust our breath with the future and edit the context of living,
While checking the reality in our shaking hands.
The feeling is sometimes lonely,
And the more isolated it becomes, the more transparent it gets.
The boundary between here and there gradually fades away,
This world and another world, or you and me, they and us, which has meaning as a gap, in between.
It produces various relationships and remains as a particle of the universe.
All things around us that have a form will disappear someday.
They will have been cast off from this place.
The things that have been cast off will leave behind certain clues.
This sense of boundaries or in between has awakened Hiroshima Portraits as my background,
And leads to an idea of stacking and layering lots of paper.
The images of photographic memorials don't represent any single past, and, preferably, they express polyphony to me.
The encounter is once and once only, but they accumulate and this forms one universe in the end.
Stacking and layering, however, do not necessarily have temporal consistency, and they are mixed before and after.
It seems like an image of a stalk, which penetrates many layers: Sheaf and stalk. Everything in life is connected and is in the little things.
All things have both a front and a back, and visible and invisible, and positive and negative, they switch, shift and overturn.
Life and death always exist right beside us.
After the wind blows our everyday life, still, some kind of collage is left.
We always live on both sides of the world, therefore, we're reminded of feelings of the transience of life and a sense of wistfulness.
The world consists of the residue of the wind.