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 photo, "TWIN CODE = Parallel Code,” is a work in which the "Face of Time" seed sutra is directly pasted onto the photographic record image of "OSDLM: Mother," which 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.

 

　 The writer continues to describe impermanence by using the alternating three-letter word "the" is now is the now is. “The” is the present moment. “The” is the face. “The” is the superficiality of human engravings, distinguishing between good and bad titles. Existence does not disappear and appear, it does not appear in a pretense that is always there, but rather it manifests itself in the “experience” that “consciousness” chooses, and it itself focuses on “the”. They occur and appear at the same time.

 

　In other words, writing down the three characters is to continue to explain everything else, and if you choose to do so, it is a creative act that continues endlessly. If he chooses, let him experience the immortality of materiality that evokes the dialectics of his production. He said that he was painting a realist painting of that landscape.

 

　Kariya uses images from the news media and refers to his own work as “News Painting" or “News Sculpture." It is used as evidence of social activity, a reference to materiality to time code. They also serve as his own archaeological evidence, proof of the source's roots. (→Return to image)

 

　"What is the purpose of your work?" It is a message to myself every morning. Enjoy life. Compassion for oneself, who is a physical being, and compassion for other alter ego at the same time. Meditating each meditating one. It is to keep learning as if.

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

 

　The series of works is currently in progress. The images are literally endless. A mirror reflects what our mind sees. There, the physical self does not see the void, but sees the impermanence of "that" present moment.

 

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