An awareness of the external is the result of a reciprocal interaction with a stimulating other, an uncertain element that is unsure of the completed form. The non-object-like object, the "as it is,”is born from an ephemeral subject that coexists with and reaches far into the uncondensed external world. Aggressively capturing the unmade, the undefined, synchronizing with the other and becoming a continuously transforming body is an aesthetic expression that demonstrates a lively physicality.

A characteristic of Japan is its historic nature of being unable to have something orthodox of its own. They have a cultural inferiority complex, a weakness that comes from lack of ideology. The flip side or rereading of this absence of an orthodox derives a pretense that tends to symbolize the heterogeneous and flows into the traditional arts of Japan, i.e., the spirit of Wabi tea. The essence of this tendency to indulge in the vague, to not be able to transform, the repetition of the pretense and introspection, is the aesthetic. This pursuit relativizes the time continuum, receiving this world and the afterlife― "as it is." The aesthetic or values of this vague diversity, a result of contemplative introspection, is an "aesthetic of the weak (or vulnerable)," used to survive the world in which we live. It urges the freeing of oneself from the world of self-contained works, which merely represent, to recognizing a liberated state through defying autonomy.

Current Work

A stete (02-30-2)

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"A State (02-30-2)," (w)95.0 - (d)110.0- (h)14.0 cm. Object (pottery and iron) approximately (w)80.0- (d)22.0- (h)14.0 cm x 4. Paper (drawing) 1 sheet (24.0 x 31.0 cm). Hand built stoneware (non glaze, high-fired) with slip, colored iron rod and epoxy. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction.
"A State (01-30-1)"

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"A State (01-30-1)," (w)130.0 - (d)120.0- (h)12.5 cm. Object (pottery and iron) approximately (w)75.0- (d)70.0- (h)12.5 cm x 4. Paper (drawing) 4 sheets (24.0 x 31.0 cm). Hand built stoneware (non glaze, high-fired), iron rod and epoxy. Electric kiln and charcoal smoked, fired 1250 degrees C. in reduction.

Both ceramic and iron, through confronting each other in their physicality, have a living stativity that makes their relationship versatile. Paper (drawing) is a fragmented matter with utility potential, and is the "dance" that surrounds that spiritual aspect. A physical world of complex structures. Everything is a relationship that expands beyond the intended to the outer world.

The work should be installed on the floor (ground), and be viewed from a low position. The works that include paper (drawing) should be place on the floor. If one were to compare this to a non-theatrical "Odori," the gesture of leaving the "ground" is the negative. ("Mai" and "Odori" both Japanese traditional dances, but Mai is a stage dance. Odori, there's a smell of ground and the racial characteristic.) The vitality of that happening is manifested by the act of coming up from the ground. Synchronization with the world of the works comes from the incomprehensible, the chaos, and pushes out from within the viewer. Putting oneself physically in a lower position, both feet on the ground, and seeing something horizontally is a way to request that the viewing be done through the entire body. This illuminates the relationship between ceramic and ceramic, ceramic and metal, and paper. One cannot build a spiritual relationship by leaving the ground, by looking at it from afar. The perspective of this structure is low, and its state cannot be seen without the viewing to physically correspond with the position of the work. The installation of the work can take a variety of forms, depending on the site and how it is utilized.

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