君は永遠、君は無尽蔵 (2022~2024)
Yufuin Station Art Hall in Oita
Materials/Techniques:
Mixed media
(cloth, resin, artificial flowers, “Law for the Protection of Cultural Properties” text, ICOM “New Museum Definition” text, “Hague Convention” text, black paint with high light absorption)
Size: Variable
The history that has been spun out of sight but latent, the things that have become invisible in the process of reconstruction, the culture that has become marginalized in the pursuit of a new life, and the means to find a "new vision" by preserving the evidence of human life in invisible places and connecting it to the next generation to be passed on to the next generation.
In addition to my activities as an artist, I have come to believe that "new vision" can be found in the immediate vicinity of adjacent (fields) while training as a cultural companion in conservation and restoration, educational dissemination, and curatorial work.
This work is based on the themes of "restoration" and "crossing disciplines," which I have been working on continuously in recent years.
All of the works are painted with non-reflective black paint and appear in the space as if they are "shadows" with reality.
The language of flowers of the mountain wisteria at the top is "never let go," symbolizing both the vegetation lost through planting and the death of the trees that entangle and strangle them.
In addition, laws and treaties related to culture and art are randomly handwritten on the flowers and painted over with light-absorbing paint.
Cultural assets and human activities are a life on the ground.
It is practically impossible to keep them in a permanent unchanged form, to preserve all cultural properties, or to prevent people and cultural assets from being consumed in the process of passing on culture and art.
In our quest for the impossible "eternal" and "inexhaustible," I hope that we can think about the future from the moment in front of us.
