I believed that the rules defined who I was, so I kept drawing lines.
Those lines became shackles, confining me in a solitary cell of the mind.
As I continued drawing, the margin gradually expanded, and at some point, I got myself out of the cage.
In the end, what I was drawing turned out to be the very cage I had been in all along.
The things I see have not changed—only the direction I am looking from has.
Even if I am facing backward, I will keep moving forward.
One day when I was in high school, my best friend and I decided to go straight no matter what from our school on top of the mountain to the station at the bottom. After passing through the irrigation canal and over the dam, we were confronted by a large apartment complex. As we scrambled up the fence facing the cliff, I found myself looking at the Osaka Plain in the distance.
Moving Blueprint embodies objects and events simultaneously.
For example, in the drawing of a door, both open and closed doors are depicted at the same time without being abandoned. Furthermore, as the line drawn with a ruler has a starting point and an ending point, it appears to be a pathway and also implies the passage of time.
If you are familiar with installing artworks, when you stand in front of a large door, you may naturally foresee your own movement of opening it and carrying any objects in, and the point where you finish carrying them inside and close the door.
When we look at an object, it is difficult to see the object itself, and we cannot escape from matching it with our own memory. And memory involves a series of movements as described above.
This painting is not electrical, but it moves in your eyes like a real door.
When I was a boy, I caught about a hundred mackerel while using a sabiki rig. There were similar-looking hooks on the rig, and many similar-looking fish would bite them one after another. They were all "mackerel," but some with slightly larger eyes or slightly longer bodies, showing me their rich individual differences.
By the way, my art practice is nothing special. I am simply producing a piece of sheet music. I just put a pen on paper and play the piece of sheet music over and over again. Even the same type of paper varies in size. Even if their sizes are the same, there are individual differences.
You and I both have places to go and things we want to do when we wake up tomorrow. You can affirm your intention even if it is not special, interesting, or even meaningful. You can do so because there are always individual differences.
Now, let me show you how I do it.
--
A lounge of a home.
From large windows, garden scenery is visible.
The window frame divide it into two.
If you open the window, frame parallel slide, scenery is further divided into four. Two parts of them with a single glass, one with a double glass, one without glass.
Each has subtly different appearance.
However, the position of the outside scenery does not change.
The position of hydrangeas planted in the garden does not change.
Even when closing the screen door, even when closing the sliding door, its position does not change and continues to affect the window.
Clearly, the scenery cannot be carried with a window frame.
The scenery is there, unchanged, if you move the window frame.
Even if you closed a shutter, the hydrangea is there.
1982 Born in Osaka
2008 BFA, Tama Art University, Tokyo
Solo exhibitions
2025 Out of the Cage, Flat River Gallery, Tokyo
2024 Through the Fence, msb gallery, Tokyo
2024 Moving Blueprint, RISE GALLERY, Tokyo
2023 Between the Lines (cont.), TS4312, Tokyo
2022 Between the Lines, msb gallery, Tokyo
2022 Electric Shock, SHINBI GALLERY, Tokyo
2020 Blinking Needle, TS4312, Tokyo
2016 Transparency, switch point, Tokyo
2014 Slow Rush, LOOP HOLE, Tokyo
Group exhibitions
2024 Trace something, See Saw gallery + hibit, Nagoya
2023 20th Anniversary Exhibition, Studio Cowhouse, Kanagawa
2023 Presence, msb gallery, Tokyo
2023 Kobe Art Marche 2023, Kobe Meriken Park Oriental Hotel (msb gallery), Kobe
2023 10th Anniversary Exhibition, TS4312, Tokyo
2020 Face Up, Gallery 711, Tokyo
2020 Chicchai-no, LOOP HOLE, Tokyo
2020 Bussan of Art, San San San Ichi (akibatamabi21), Tokyo
2019 SANGYO, RISE GALLERY, Tokyo
2019 Endless Beginning, akibatamabi21, Tokyo
2018 Dagaku of crops, ART TRACE Gallery, Tokyo
2018 SUPER OPEN STUDIO SOME THINKS: 169.8cm, Art Laboratory Hashimoto, Kanagawa
2018 Special Edition 2018, RISE GALLERY, Tokyo
2018 Promised Form, 3331 ART FAIR (akibatamabi21), Tokyo
2017 Interchangeable Potential, LOOP HOLE, Tokyo
2016 SUPER OPEN STUDIO SOME THINKS: Rather be wavy than flat?, Art Laboratory Hashimoto, Kanagawa
2016 AFAF AWARDS 2016, Fukuoka Asian Art Museum Artists Gallery, Fukuoka
2016 Power of a painting vol.5, TS4312, Tokyo
2015 The first decade of LOOP HOLE, Fuchu Green Plaza Anex Gallery / LOOP HOLE, Tokyo
2015 10th Daikokuya Contemporary Art Competition, Itamuro Onsen Daikokuya, Tochigi
2014 FUCHU OF MADNESS, LOOP HOLE, Tokyo
2013 Wonder Seeds 2013, Tokyo Wonder Site Hongo, Tokyo
2012 7th New Ikebukuro Montparnasse: West Gate Street Excursion Museum, Okasan Securities Ikebukuro Branch, Tokyo
2012 7th Daikokuya Contemporary Art Competition, Itamuro Onsen Daikokuya, Tochigi
2011 Chiyoda Art Festival 2011: 3331 Independant, 3331 Arts Chiyoda, Tokyo
