100 Jahre

I participated in the program of "PLUS-A Project for an Aging World” in Dusseldorf, German last summer.
Under the themes of “aging" , “growing old”, I thought about the time related to individual, which is different from the time related to society and science.

Maybe present is the only thing that truly exist among past, present, and future. On the other hand, there are some situations that past and future might be easy to understand and perceive.
The “present”, which moves from moment to moment, is actually the hardest thing to perceive, and it might be very difficult to clarify what exactly it is. I think in most situation, our cognition and understanding, mood and feelings remain in the past or the future when we experience present of moment.
Soaking in the memories, regretting on something happened already, dominated by something have not happened yet, looking forward to or worrying about the future, we are spending irregular time like “a long day” or “a life in a blink of an eye” while we are confused about how to understand present.

My drawings, photographs and movies are deeply related to such irregular and wavering time.

100 years are expanded, shrunk and skipping. Sometimes they turn back, being made up. Many are forgotten.


100 Jahre(100年)

昨年の夏、私はドイツのデュッセルドルフで、PLUS-A Project for an Ageing World(高齢化社会のためのプロジェクト)に参加しました。

瞬間ごとに移動していく「現在」は、実は一番認識しづらく、それが一体何なのかを確かめることがとても難しいのかもしれません。 多くの場合、現在という瞬間を過ごしながらも、認識や理解、気持ちや感覚は過去や未来にあることも多いのではないかと考えることがあります。





I keep an eye on my growth and aging by continuing to draw.
I think about what I can and cannot do. I also think about what I can and cannot do more than I used to.
Now I can't draw like when I was 20 years old. Similarly, at the age of 20, I wouldn't have been able to draw like I can today.

Changes in people's lives and feelings, and their corresponding thoughts and ideas, do not always follow the time axis. Things I thought were good yesterday may seem bad today, but can often turn out to be acceptable in the future. Even if I think to have progressed, I may be backing up, or when I feel stuck, I might actually be leaping to a completely different place. Influenced by these things, I grow up and grow old. Although living closely with it, I sometimes think of time as a separate phenomenon.
Drawing becomes a field for repeating the acts of believing and doubting.
Drawing is walking, and also thinking.

This time, I shot videos on my iPhone. There is an airy and unfixed feeling to it. And that feeling is similar to the copy paper drawings I have been continuing. I create blank spaces so that the subject can move around. This may be for filling in the gaps that lie between the aforementioned time axis and my own values and beliefs. As long as space is left for the subject to move, even if I change to be a different person tomorrow, I may be able to find a different perspective on what the drawing means. In other words, it is a kind of hope that it may connect to someone in a completely different country or era.








A well-known fable tells of the blind men and the elephant. Several blind men felt different parts of an elephant and discussed what kind of animal it was.
Though they had all felt the same elephant, the man who had felt its leg said it was like a tree, and the one who had felt its trunk said it was like a snake. The moral of the story is that even when people are discussing the same thing, they may assess it in completely different ways depending on their impressions, and that just grasping one small part of something does not mean you grasp its entirety.

Drawing may be similar to this groping around in the dark. I record something I have encountered, and observe and think about what it is. In my blind state, my imagination, belief, longing, doubts, disappointments, and misunderstandings all make their way into the works. For me, these small things accumulate to form a large map of an unknown territory.

I started drawing in 1992, when I was 20 years old. I've been drawing on paper of the same size on a daily basis for over 25 years. This repetition is crucial, and the format is compatible with gradually increasing complexity and freedom, depending on the amount of time spent and number of sheets used.

“I believe that drawing on paper is very important. Drawing on paper is hardly a unique medium, but it is the one that I arrived at. For me it has always been and will continue to be a new, radical, yet precise medium. It connects the self to the work very simply and yet very intimately. It is a practice that resembles walking.” (2002)

“The latest picture I’ve drawn is an accumulation of all my drawings so far, so I could say it took 21 years to produce. And the first drawing I ever did has gained new value over the years. Both of these thin pieces of paper, the first and the latest, have gained heft and complexity with time.” (2013)

If we view each drawing as a cross-section of the world, a single drawing is like the blind men’s elephant.
I believe that every drawing presents one aspect of multifarious impressions, values changing over time, and phenomena that cannot be grasped in their entirety.

It is the process of taking a nameless and seemingly indeterminate event, and assingning it a specific from.


elephant - 象









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