"If what is called life is recorded only narratively and cannot be presented, how such a record is exhibited in the art space without distorting its qualities. Is it possible? In many cases, art documentation is presented in the context of the installation, but the installation is not only the images and texts, other objects installed on the spot, but also the space of the installation itself.

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   It is an art form that plays a decisive role. This space is not abstract or neutral, but is itself a form of life. Thus, the documentation is an act of writing oneself into a particular space. Forming as an installation is not an act of neutral exhibition, but an act of storytelling in the dimension of time, so to speak, an act of writing to life, "said *Boris Grois.

　* Boris Groys "Art in the Biopolitical Era-From Art Works to Art Documents"

　　(2002, via installationia-blog)

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   -"The" is now Writing- 

    In Kariya's case, he presents life by recording traces of the act of writing the three characters "the now is" that began in 1977. Through the production act of imagination and creation, he presents his own research practice and continuous learning. Kariya pays attention to the fact that the act of creating as an artist exists at the same time as everything else. It is an index, that is, a guideline, and its "consciousness" is "existence", and it presents the "work" completed by the act of "thread" that connects them to the viewer's inner heart. Some of the easy-to-understand works use news articles and facial images that convey the social background of the production as a "code". It is to "get attention" to the work, and the work is at the same time the audience's attention, and at the same time, the invisible, evil, mistake, falsehood, and trash all invite us to meditate on "the now is".

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   Art is, of course, the recognition that it is free from all regulations from the beginning. We are created as one. Kariya presents in the field of art,  saying "Art is a form that transcends temporality, partiality, and eventuality".

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   Well, the illusion and reality may be reversed when it comes to seeing it that way. Everything one tries to resonate the void with the holographic reality of "the now is". With only one mind is existing, we all have access to all knowledge within our DNA, to re-member close your eyes, go within. 

    Immortal spirits descend and dance throughout the universe.

   -About The Composition-
　"The now is" is used as a code that connects all. The three letters reduce, conclude, and persist in the sense that they are their own directives and their own creations. The three letters are structures that simultaneously present the structure of the trinity of "subject, phenomenon, and self-existence." Kariya experiences an infinite reality in the act of continuing to describe. What is the subject, what is the phenomenon, what is the existence, these eternal imputable links. The descriptive body "the, now, is" is a tool for acting and observing. The description invites us to an endless loop of begins and ends of inquiry. In the middle of the act, based on a movement of practice that transcends the real world and illusion, it floats in the immortal void between the ambiguities of the source.

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   -About The Face Sutra-
   The work presents the surface as a "structure". The front is the reverse side, that is, the background, the explanation of the background, as hidden side is the constructed surface that induces the prejudice of the audience, implying that it is an imprinted definition. It presents that surface is a superficial story, and existence is an explanation by traces of "existence."

Figuratively, the process of making "story" is intentionally left on the surface as trace evidence of the description. The work is presented in the process of action, that is, a passage of life. And what is included in the making process is the relationship between matters and events, that is, everything in the world. Here, another aspect of the work, the state of observing the world.   This is due to social information, paying attention to all the social backgrounds hidden on the surface such as acts, operations, illusions, mistakes, recognitions, misunderstandings, inactions, deviations, learning, playing, and so on. The illusion of observing it is presented.

    -About The Armory Piece-
   Kariya added the statements "Law and Order / His" to the exhibition of additional works at the 2019 Armory Show. His paintings come with a myriad of shackles, backgrounds, support of all beings. The following definition is presented there. What is called "wrong", "correct", "accidental" or "necessary" is just a manmade sign. All at the same time is described in this phrase "the now is". Kariya examines the basis of the dialectic of creation, which goes back and forth between objective and subjective, artificial concepts and realistic mechanisms in the structure of creation and fiction.

  At the solo exhibition "Archetype" this spring, it was a enlarged photo documented of a "face of the time" exhibit, as apart of show in which the audience was asked to wear a face mask arbitrarily, but the exhibition was closed early with the arrival of COVID19 as April Fool. The enlarged image source of the face is a cutout and pasted on the seed, that was randomly selected from a daily newspaper articles.

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   Everything is inevitably exposed. It also includes what you do right or wrong. If the audience happens to encounter a three-letter gap that they find by chance, that gap may be the three letters of prayer if we can tolerate the mistakes of the brushes of the criminals in society, as if we were to encounter the drips of the paintings that we happen to see.