With the concept of “Earth
Theater,” dramas occur living things themselves are replaced with theatrical
interpretation and applied to a painting.
The
method adopted as a substitute for theatrical visual arts is the collage-like
appearance (pasting and layering of meaning/meaningless) on circus. Every shape
of a chopped living creature is reconstructed to be represented as an idol, and
arranged as an object alone or in a narrow space like a stage. The chopping
action in these works is a type of autopsy. By removing a meaning from
individual parts, observing the possibility of a shape, and reconstructing only
shape and color things as a part of stylistic beauty that was built into
classical arts, crafts, and religious arts, it glorifies the shape itself,
released from the meaning or the role. This anatomical collage is an act of
quoting the mechanism of circus developed through festiveness which affirms the
existence of all on the stage by combing various races and cultures freely, and
affirms the interplay of play and life which is contained in this world.
I processed the mesh-like pattern often found in the
background of works onto mass-produced processed leathers, animal skins, or
agricultural nets; after being scanned into a PC, the pattern is repeated with
image processing software, changing the rhythm pattern, and adjusting colors.
There are two reasons for this.
The first is to clarify the "visual texture" that
perceptual psychologist James Gibson identified. This world continues a wide
variety of "texture" such as land, water, trees, concrete, and living
creatures, and we are in a series of those materials. That
texture, more specifically, the nested and existing texture makes it easy to
visually understand the situation encompassing us like the womb.
The second is to compare the process that the pattern of the
living creature’s skin has produced, copied repeatedly and moved away from the
original, but still similar to the evolution of organisms or life tradition.
The human desire that controls nature and life will keep
continuing with developing science and technology.
By presenting the dramaturgy of the earth, I would like to
change the perception of "life/organisms" by human subjectivity and
review the way of human existence.
2010
Tokyo University of the Arts anatomy laboratory graduation.
When
the University,, and participated as a research student in the
Performing Arts Institute "Pappa TARAHUMARA". Later, Mr.
Ohno Yoshito of BUTOH dancer and Mr. Akira Kasai, received a
workshop of various dancers and stage officials, I have continued the
discussion of body and stage theory. Currently, while working as an
artist, I have a research about the circus and traditional arts
around the world.
