Hiroshi Kariya, born in Japan in 1948, has since moved to the United States in 1977* and has pioneered the art form of self-archaeology, turning the process of examining the archetypes of the concept of existence into works. Kariya presents a landscape of the concept of existence, the concepts that lead to existence, and the system that continues to explain them. On the surface, they appear to have been thrown away as mere traces.

　The work, "TWIN CODE = Parallel Code,” is a work directly pasted onto the photographic record image of "OSDLM: Mother," was exhibited at the 2019 NY Armory Show. The act of reference remains on the surface, revealing footprints before and after. The traces simulate an archaeological site excavation activity, concealing the illusion of intentional comparison. Is the world we see real or a holographic virtual reality?

　Kariya, who is a twin, duplicates the words of Genesis and Souseiki. He hints at the dynamic infinity of the immensity and subtlety of the false one and the unseen immortality. All physical properties on the surface are a repetition of self-created illusions where our beliefs are misplaced, and we continue to experience self-questioning.

　The image is a mirror, symmetrical, the left side is the right side, the front side is the back side, and the whole image invites you to imagine it. Mental images are non-spatiotemporal, non-physical, and ever-changing frequencies. The origin is here, the beginning becomes origin, and they are dancing and playing freely and no-ends.

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　Kariya uses news media articles and images as representative of virtual information, and collectively calls his works "News Paintings" or "News Sculptures." They are evidence of the virtual evidence of the information society, examples of time code references. At the same time, they are used as an archaeological examination of the production, presenting the illusion of incorporeality. (→Return to image)

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　(OSDLM; One Stroke Dotted Line Mizuma, M also stands for Mind, Mirror, Miracle, Mother, Myriad, Maze, and More.)

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　*This art form is experimented with in his solo exhibition "Sutra" at ICA Philadelphia, 1990, on Ilya Kabakov's wall. → Sozansky articles