In the process of creating my works, I first grasp through the five senses what cannot be grasped by the sense of sight alone by creating small three-dimensional objects called "Yorishiro," and then expand the image from there.
The following rules apply to "Yorishiro"
・At least one "Yorishiro" is drawn for each work, and it is like the core of the work.
・It is a tool to expand the image, and a tool of prayer to bring down the image.
・The paintings are positioned as drawings that can be seen and touched so that they are not completed only in the imagination, but they are not drawn exactly as they are, but they are positioned as a starting point for the work.
・In order to hold his own traces in the work, he combines everyday objects that are available to him in his daily life.
I consider objects that fulfill the above conditions to be "Yorishiro".
Next, he mixes fragments of all kinds of existing and fictitious images, repeatedly synthesizing and deconstructing them to construct his paintings.
In addition to "Yorishiro," the motifs that compose his paintings are mainly things created by people in the past (philosophy, religion, mythology, letters, numbers, and other roots of civilization), and in his recent works, he depicts tools that were created by others and are no longer in use.
The tools are filled with the wishes of their makers, which are also prayers.
If "Yorishiro" is a tool to sublimate one's own prayer, then incorporating tools created by others in my paintings is an act of sublimating the prayers of others that can no longer be fulfilled in another form (deifying them as a kind of mourning god).
We can only perceive materials within our reach, and we can only perceive things in fragments.
My paintings are also an accumulation of fragments, and in my paintings, different things with different concepts of time and existence are mixed together on the same canvas.
By combining fragments of the present/past, real/fictitious, and each from various angles and constructing them as paintings, I attempt to connect the "visible" and the "invisible," or to show the boundary between the two.
Religious beliefs in nature and animism have existed throughout the world since ancient times.
In Japan, too, nature has been worshipped as a god, and spirits and souls have been believed to dwell in all things.
The behavior of people who give form to the invisible, sometimes as gods, sometimes as ghosts and goblins, and worship them as something special, is an act of connecting the certain and the uncertain, and I feel that the role of art is also the same.
Through my own works, I would like to examine and question the spirituality that has been passed down from generation to generation, even though it has changed with the times, and is still alive today.