A. M. Weaver

Curator, Painted Bride Gallery

A. M. Weaver

The exhibition, Incarnation: Two Perspective,
was designed to coincide with a city-wide project
Prison Sentences: Prison as Site/ Prison as Subject.

   The Painted Bride Gallery’s participation in this project offered the opportunity to present socially challenging works that pertain to historically significant events and institutions and philosophical percepts that force the viewer to assess existent life conditions.
Incarceration: Two Perspectives takes a definitive lean towards being a visual expose on Japanese and Japanese American derived experiences in contemporary society.

   Hiroshi Kariya’s Installation

No Man Is Free Who Is Not Master Of Himself  is a grand crescendo. His chalk board writings, collages, and wrapped forms are crowded into a prison-like enclosure. (Kariya quote this, is a small scale of our 3D-physically-informed world)
Each item, material and mark alludes to a complex matrix of events, activities, public and private and world conditions.
(No Man Is Free Who Is Not Master Of Himself, Epictetus)

    No Man Is Free Who Is Not Master Of Himself ,
is a continuum of a work created in 1993. Sign of the Times, Kariya’s installations evolve and flow like a river from one piece to another. An integral part of his process is to compile layer upon layer of data, building each project by expanding or editing depending on time and space.

Since 1977 Kariya has been writing “sutras” (repetition of “the now is”: 3 words: 1 phrase writings on the various objects) that are both personal and cathartic. Explored in a plethora of mediums: seeds, shards of masonite, stones and wood these “sutras” exist in constant states of evolution. Information is perpetually recorded and erased-depending on the material-revealing a synopsis of Kariya’s experiences, states of being and commentaries on current events.

Significant to No Man Is Free Who Is Not Master Of Himself
  is the concept of freedom, which is a central theme of the works by the Chinese philosopher Chung Tzu. (…)
Kariya’s construction attempts to engage the viewer by challenging the perception of prison: here the prison is the self, the mind, systems and world conditions. Many of China’s ancient philosophers entertained the issue of how man can live in a world dominated by chaos, suffering and absurdity. Chuang Tzu responds in mystical terms, contrasting concrete and systematic discourses promoted by other thinkers of his time, by staring all is relegated to the constant. “… No thing is either complete or impaired, but all are made into one again. Only the man of far-reaching vision knows how to make them into one. So he has no use [for categories],”1
By translating the essence of what one has to divest oneself of thought process and artifact, Kariya brings clarity to a postmodernist arena utilizing ancient concepts.

Process, treatment of surfaces and marking are integral to Hiroshi Kariya’s work. The front and reverse sides of tablets and chalkboards are marked and/or collaged. An ardent practitioner of Gichin Funakoshi’s Shotokan style Karate (JKA/WKF 6th Dan black belt) which is the importance of background or what is behind. Kariya translates this concept in visual terms focusing on the frontal and reverse sides of surfaces. His wrapped human corpses are discarded materials. Materials from previous works and found objects cannot the relationship between past and present, symbolically representing the continuum of existence. Pertinent to aspects of Kariya’s conceptualizations are Eastern ideologies that relate to contemporary societal conditions and concerns.

No Man Is Free Who Is Not Mater Of Himself, 1995













 1977年以来、刈谷は個人的でカタルシス的な「お経」(「the now is」三語:一句の繰り返しをさまざまなオブジェクトに)を記述する行為をしてきました。それは種子、メゾナイトの破片、石、木材など、さまざまな媒体に実験検証されます。これらの「経典」は常に進化の状態・現在進行形で存在します。情報は永久に記録され、消去されます-資料に応じて-刈谷の経験の概要、存在の状態、現在の出来事についての解説が明らかになります。

 中国の哲学者荘子の作品の中心的なテーマである自由の概念は、自が己の主でない者は自由に在らず、ということにとって重要です。 (…中略…)
刈谷の構造は、刑務所とはの認識に挑戦することによって視聴者を引き付けようとします。ここでは、刑務所とは自己、心、システム、そして世界の状況を示します。中国の古代哲学者の多くは、混沌、苦しみ、そして不条理に支配された世界で人間がどのように生きることができるかという問題を楽しませました。荘子は神秘的な言葉で反応し、彼の時代の他の思想家によって促進された具体的で体系的な言説を対比し、すべてを見つめることによって、定数に追いやられます。 「…完全なものも損なわれたものもありませんが、すべてが再び一つになります。それらを一つにする方法を知っているのは、遠大なビジョンを持つ人だけです。



 プロセス、表面の処理、マーキングは、刈谷博の作品に不可欠です。タブレットや黒板の表と裏には、マークやコラージュが施されています。船越義珍の松濤館風空手(JKA / WKF 6段黒帯)の熱心な熟練者であり(表に見える物にではなく)背景や背後にあるものの重要性を提示します。刈谷はこのコンセプトを、表面の表側と裏側に焦点を当てた視覚的な用語で翻訳します。彼の包まれた人間の死体は廃棄された材料です。既存の作品や見出された物質など過去と現在の関係を築くことはできない物を結びつけ、存在の連続性を象徴的に表示します。刈谷のコンセプトの側面に関連するのは、現代の社会情勢と懸念に関わってくる東洋の根本を示唆するのです。

No Man Is Free Who Is Not Mater Of Himself, 1995


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