Young & Loving 2013 !
October 11th – November 10th
Extensions, retractions, and missing parts approaches questions related
to the human body, human being, and emotional aspects of inner life I have been dealing within my practice. It is a subjective reflection within the duality of the physicality of the body-object relationship, and the abstraction of emotional attachments as an uncontrollable human
In my current work I reflect on thoughts around the presence of the body in my production, where I suggest the body through its absence placing it in objects and materials. I explore the character of incompleteness of a body, and its longing for connection; and relate it to the emotional expression of the object, as a poetic image that can be experienced through memories and imagination, materiality as a sensory perception. I aim to bring another dimension to objects and structures I make, adding layers and connotations to simple elements that are present in our everyday life; touching the surreal and its relation to the unconscious aspect of mind.
The materials I use are mostly re-purposed, compostable, consumable, or re-useable in some fashion. This makes the work a function of its environment and speaks directly to my creative ethos.
Using light, reflection, and sometimes small structures, my work invites viewer participation or entrance into spaces that invite contemplation and a deceleration or expansion of time.
The two concepts of perfection and beauty cannot be used interchangeably. Perfection is easy. It is measurement and execution. Beauty comes in the breaking down of perfection. It lies in the tragedy of aging.
Eventually, inevitably, our architectures will fail. Our cities, our bodies, will soften. We will give in to gravity, losing our cherished verticality. With the loss comes experience and understanding. When the spine, designed with such intention – hold, support, straighten – begins to fold in on itself, it is just as useful in its movement towards purposelessness as it was in the height of its function. When eyes begin to blur edges that were once sharp, that is the new life of everything that is seen. When columns stand alone, still intending to hold an ancient burden that caved in millennia ago, their efforts are a sadness, a necessity, and a distinct marker of time.
Allow tragedy. Stability is a fiction.
My work is about crumbling and seeing beauty in the ruins.
Throughout history we have preserved information in tangible formats such as books, paintings and sculptural objects. With the invention of photography as well as sound and video recordings, we were able to store a wider range of information than ever before. Recently we have embraced electronic storage and seek to migrate all of our information from the analog to the digital world. This means great things for the accessibility of this information, which can be obtained by anyone with an internet connection. Technology allows us to lead lives that are less cluttered but it presents a danger for future preservation. Now entire books are written, songs recorded and art produced without ever leaving behind a single tangible object. People turn to digitization as a way to archive cultural information unaware of how unstable it soon becomes. File types, operating systems and software become obsolete in a matter of years, making the information contained inaccessible. This makes constantly updating the digitized information a daunting but necessary task for future archivists. By migrating all of our information to the digital realm we stand a greater chance of losing large amounts of our culture to the march of time.
In my work I wish to capture the ephemeral nature of our digital world and convey a sense of loss for all things that fail to make the digital migration or are then lost in the march of obsolescence. My series of glitch prints on plexi-glass cull source imagery from the Library of Congress Digital Collections, an online resource of digitized information. Each image was originally a film negative, but has been translated into a digital file to “preserve” it for future generations. I used a program to intentionally “glitch” these images, showing a sudden breakdown in data. These prints represent the instability of digital resources as opposed to their analog counterparts. My series of glass “Vitreo-Tone” recordings represent analog media: tangible and bulky, yet more stable over time. When stored safely these recordings could be played by future generations, who will hear the information fade each time it is played. Not only does the casting process corrupt the data on the recordings, but each time the grooves are traced by the phonograph needle, the music wears away further. Through the reproduction
of media, degradation is inherent in these works. As we document our lives and events today, this information becomes part of the greater digital landscape. While it is more accessible as part of a global web, it is also more prone to sudden loss. These types of media leave behind no real physical object and are only digital copies of copies.
“… every corner in a house, every angle in a room, every inch of secluded space in which we like to hide, or withdraw into ourselves, is a symbol of solitude for the imagination; that is to say, it is the germ of a room, or of a house.”
– Gaston Bachelard, The Poetics of Space (1958)
My work is about the exploration and discovery of subtle intimacy in unfamiliar spaces: what I refer to as empty space. When I crossed the world to come to the United States from Japan, I experienced sensations of lost memories, nostalgia and loss of home in both of places although Japan was my home.
In search of intimacy through empty space, I seek out spatial compositions, such as the basement and the forgotten corner, as well as remnants of the unfamiliar, such as abandoned dust, within those spaces.
Corners can contain the history of space because they are like the storage of dust: Dust is the ultimate residue of space. It can know everything in the space in both of the past and present. It can be never changed physically so that I will be able to know what has been going on in this space if I examine dust on a corner. Moreover, corners are forgotten or hidden, and negative but immobility, calm, and safe. A corner is my favorite space in a private one. I can see everything in a space and they protect me with walls when I am on a corner.
I believe that corners can tell me how to read, investigate, and reknow subtle intimacy in unfamiliar spaces and spaces that became unfamiliar.
I use the glass strength to be formed, together with the various expressions that the glass can give, to tell stories about life based on the human body and psyche.
I take my thoughts on life’s beauty and dilemmas into the glass world and I would like that the thought to inspiring the viewer´s own life.
I am developing works by analyzing myself and hidden thoughts. I want to confront the weaknesses and dark side within me, in search for a deeper understanding.
I’m trying to get my work to convey clean and dramatic story`s which I think is from a child’s view of looking at life. I use the negative and scary thoughts and combine it with the positive memories and things from the childhood.
I find inspiration in the surreal, and in the composition I investigate the relationship between realism and fantasy, the innocent and clean together with the obscene.