H SITE​ PRESS  

2000s    2020    ARCHETYPE

             2018    O.BURAKHMEDI

1990s     1998    OMATA IZUMI

             1998    ERIC MEZIL

             1996    M.MIYATAKE

             1995    A.M.WEAVER

             1994    Y.KURABAYASHI

             1994    S.WATANABE

             1990    W.SOZANSKI

1980s     1979    OTHERS     BIBLIO|TEXT

                                           HITORIGOTO

 | Descended order | 

2020          2019          2018           2012e       2012j

 

1998          1996           1995           1994          1993

1990           1989           1982           1981          1977

 
 

2020

The work "OSDLM 2017" is a collage, of a handful of daily works of "Seed Sutra", on a transparent plate. There are two layers, one on the front and the other on the 2nd layer behind, with seeds on the front and data of the work in progress (instruction, quantity, location, mistakes, corrections, rewrites and fabrications) .

Hiroshi Kariya, OSDLM2017, Assemblage of Seed Sutra, Mizuma and Kipps, New York, 2020

 

2019
The work is made as a document of making, with foot note directly left on the surface as painter’s brash stroke. It is in-facts as whole story was left on the surface under artist’s law and order, whatever is. It is to investigate wether we find any truth or just magical illusion on the surface.

Hiroshi Kariya “OSDLM 2018 Mother” The Armory Show, New York by Mizuma Art Gallery

 

2019
Combine with Face Sutra and Seed Sutra. The work is made as a document of making, with pasted face articles cutout, as sign of the times collaged. The surface presents as painter’s sign of the time strokes. It is to create the new magical illusion on the surface.

Hiroshi Kariya “OSDLM 2018 Her Children SR” The Armory Show, New York by Mizuma Art Gallery

 

2019

The work is an installation composed of situated photographs: facial specimens are lined up in a transparent bookshelf storage, image covered with the entire wall. It is the library shelves, and each container has numbers of face masks lined up. The storage is transparent, the groups of faces situated on another layers of the containers behind. The arrangement of faces is casual and lying arbitrarily. Each facial expression captured in a snapshot, set to be an emotional, sentimental, or inquiring, otherwise transparent, prison-enclosed expression.

Hiroshi Kariya, “Archetype”, Mizuma and Kipps Art, New York, 2019

 

2018

Olga Burakmedi, Independent curator/ @artkukhnia

Kariya Hiroshi says that the code is in “the index to point what is the illusion and the index to point what is the reality”. This world is a twisting the reality and art is trying to bring you back to awareness to differ the illusion from the reality. The code is not out it is inside you.


Olga Burakmedi, “It’s all about the one piece, and millions of others, Mizuma Art Gallery, Tokyo, 2018

 

2018

His “the now is” written each day for the amount of a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles.

Another part of this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article image were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written.

Shinichi Takashige, Real Tokyo review, 1/13/ 2018

 

2012 0605 1060 The body of microorganisms is an enzyme 

 

2012 0605 1059 Insurance, Pharmaceuticals, Doctors Trinity 

 

2012 0102 1019 You won't die 

 

2012 0102 1018 You are human now

 

2012 0102 1017 This is the part inside you

 

2012 0102 1016 You created the universe

 

2012 0101 1015 Crazy theory dream

 

2012 0101 1014 Forget and remember yourself

2012 0101 1013 Nothing exists without you

 

2012 0101 1012 You created the existence

 

2012 0101 1011 You changed your appearance

 

2012 0101 1010 You are "an event"

MORE > selected from Kariya's diary memo.

 

 

1998

It is certainly this consciousness that Hiroshi Kariya animates his work. He engraves the names of the genocide scenes being exercised in the world on a black slate plate, which has already healed in the fact that they become news articles and that the articles are cut out. It may have been slaughtered. However, Kariya physically perceived the weight of suffering by recording it in a format at the same time as his sutra, and tried to make this series of actions a prayer to relieve the pain that now tears our planet. is. It is immortal because it is not "coming" but "its present" its continuation.

Izumi Omata, ”Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998

1998

Eric Mezil, Directeur du musée Collection Lambert

Hiroshi Kariya's method is, He accumulates passes, sometimes he retains only The title, cut in newspapers whole world events and sticks these words on slates of school chalkboard. On the reverse side, he writes a small sentence in white chalk that will inevitably fade over time. "Now is the now is the now ..." is a lifetime motif in all of his work. For many years he has chosen to live in New York, and like any immigrant, he feels concerned by the problems of his country but also by every drama that taints the world well beyond the archipelago.

Eric Mezil, "Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998

 

1997

I am still writing “The now is” sutra.

I am still wondering about it. 

 

1997

Takashi Kitaoji, Review on Hiroshi Kariya "1996 Sutra" Exhibition

If a person with no preliminary knowledge visits the gallery in the afternoon, he will not be able to read the letters "the now is", which covers the blackboard as usual, and will probably understand that they are unknown foreign languages on vague grounds of the cut-out of a 1996 newspaper article on the back of the chalkboard - the disasters in Bosnia, Rwanda, and elsewhere.  So why is this blackboard appearing here? If I would ask him "Is this Sarajevo ruin here?”, I assume that he would not say yes to it. Then, the ruins placed here are speech-loss. “What is here is one thing: that is everything… nothing exists apart from that” (quote: H. Kariya)

Takashi Kitaoji, BT7/97 Page 152, 1997

 

1996

Planting the seed of an idea in the here and now

“...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts… Based in Brooklyn, N.Y., his open poem was first in English;

One piece of Brahma Day

One piece of “the now is”

One piece of 8,640,000,000 years

104 pieces”,

 Miki Miyatake, The Japan Times, 5.1, 1996

1996

I am still reading ‘The New York Times’;

in different date, in different name, in different place, in different print.

I am still reading ‘The New York Times’; in different words, in different pictures, in different stories.

I am still reading ‘The New York Times’; in different titles, in different times, in different killings.

“1996 Sutra”; (news title sutra), typed on paper, 1996

 

Words are “produced and exist, so also our presence that the world has existed”, yet I could live without it.

 

If you have observe the detail of Kariya’s “Chalkboard Sutra”, you will recognize that the writing on this work is not freshly written but layered, written and erased over and over. The chalkboard as media; writing on a

whitish half-clear surface, as it is difficult to erase previously written words perfectly. I think everyone recalls, with this sort of chalkboard image, the memory of school life in childhood.

 

“Chalkboard; 10 Years later, Chernobyl”

acrylic on masonite+chalk+eraser, collage on reverse side, 1996

 

1996

“Chalkboard: 10 Years later, Chernobyl” reverse side of work

To enter the gallery floor… is my chalkboard… My foot to enter… My hand to chalk proceed my life…

To enter this life… Proceed my chalk writing… To exit my foot proceed to erase my writing… 

With my light particles creating holographic of physicality, everything no begins nor ends, but is the now.

 

The world is a chalkboard.

Our feet are the eraser

Our hand is a chalk

Within ourselves we built and we demolish

 

Hiroshi Kariya

“Chalk writing of “∑ 139+89 words”, and placing a daily work  of “Seed sutra”, Mizuma Art, Tokyo, 1996

 

1996

“The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”,

Toshihiko Washio Komei newspaper, 5.15, 1996

 

1996

“innumerable ‘the now is’ writings in chalk, lead us to another dimension… while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming  into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” 

Akio Sagegami, Shodoh Kai magazine, July, 1996

 

Let the candle light

to see what is writing;

 

“the now is” to read

“the now is” writing

“the now is” lighting

“the now is” 

 

Reading Candle Writings

curved on candle, 1995, photo; Hideki Hiromoto

  

I am still writing “the now is”

I am still writing “the now is”

I am still writing “the now is”

 

1996

“Gallery”, weekly magazine PIA, 4.30

 

1996

Toshihiko Washio “The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”,

Toshihiko Washio, Komei newspaper, 5.15

 

1996

Akio Sagegami “innumerable ‘the now is’ writings in chalk, lead us to another dimension...while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming  into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” 

Akio Sagegami, Shodoh Kai magazine, July

 

1996

Miki Miyatake “Planting the seed of an idea in the here and now...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts...Based in Brooklyn, N.Y., his open poem was first in English;

 

One piece of Brahma Day

One piece of “the now is”

One piece of 8,640,000,000 years

104 pieces”,

Miki Miyatake, The Japan Times, 5.1

 

1995

A.M. Weaver “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’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...”

A.M. Weaver , Painted Bride Art Center, catalog essay

1995

Hiroshi Kariya’s “No Man Is Free Who Is Not Master Of Himself” EPICTETUS 

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, we are the prisoner)
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 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.
A. M. Weaver, Curator, Painted Bride Art Center, Philadelphia, 1995

1995

NO MAN IS FREE WHO IS NOT MASTER OF HIMSELF

Installation:

The prison is a world,

The prison is a nation,

The prison is a border,

The prison is politics,

The prison is a religion,

The prison is the hierarchy,

The prison is a system,

The prison is a program,

The prison is a classroom,

The prison is (Y)our out side of (Y)our body,

Painted Bride Art Center, Philadelphia, Penn. USA

Hiroshi Kariya, 1995, Catalog Essay

 

1995

Toshihiko Washio “Kariya is trying to capture ‘Time’ by means of his symbols which appear and disappear. Without their emergence, ‘Time’ exists only in an undisturbed limbo...However, if none exists, no sign appears..the meaning in his writing of “the now is” expands to an extraordinary dimension..”

Toshihiko Washio , Art Journal, magazine, July

1995

Tsunaki Kuresawa “Chalkboard Sutra with combined element, chalkboard, chalk and eraser as one unit...as composition of our world...Each chalkboard is marked with writings or erasing of his ‘the now is sutra’. The phrase is an index which points to every moment of “now”… a meaning extends, at the same time, to the unascertained existence of eternity...”

Tsunaki Kuresawa , monthly art magazine BT, Sept. 

 

1995

Hideki Nakamura “Art as representation of today’s mental structure”,

Hideki Nakamura, monthly art magazine BT, June

 

1995

“..by using discarded objects to rebuild‘Time’”,

Monthly Gallery, magazine, June

 

1995

Tamaki Harada “the work is a healing art. His writing of ‘the now is the now is..’ strikes us very deeply to heart.”

Monthly  magazine CAZ, 6.27

    

1995

Taiji Yamaguchi “small chalkboards each the size of a magazine, similar to a memorial tablet,.. each chalkboard framed in gilt rests on its gilded chalk ledge..the surface layered with repetition of his ‘ the now is sutra’ writing and erasing.”

Taiji Yamaguchi , Akahata newspaper, 6.23

    

1995

Toshihiko Washio “Striking at first, then a moment of serenity washed over me..He is performing a memorial service; producing a monument dedicated to every moment by infixing his sutra on the surface of the chalkboards...”, 

Toshihiko Washio, Kohmei newspaper, 6.23

 

1994

“Writing on Chalkboard exists with the intention of being erased. Written exclusively by hand, it stresses the existence of life. Words are ‘produced and exist, so also our presence that the world has existed”. Once they appear, they vanish quickly. These works are deeply connected with the writer’s movement of hands, body and voice in front of chalkboard; the writing and this activity becomes one. On the surface, Writing on Chalkboard

holds the presence of “now”, it reveals the artist’s voice and performance.

A classroom is a mysterious place where fundamental and universal truths are revealed, where a teacher’s total life experience is exposed.

 

As I  have already mentioned, Writing on Chalkboard does not become invisible, but remains as sheer traces even though they are erased. Through erasing they simultaneously create a background of new writing. This

system is quite similar to human life, isn’s it ? As someone dies, their trace as karma will harmonize with the whole, and forms the background of new life.

 

I believe that one of the most interesting ideas in Kariya’s work is the fact that he has connected the notion of copying the sutras into Writing on Chalkboard. 

In copying sutra, the writer’s life is settled on the paper by written words, which will last for a very long time. Kariya transferred this process from paper to chalkboard and succeeded in showing a momentary and instantaneous side of life. The chalkboard writing expresses a collective “voice” of today’s humanity as if it were one loud scream. In this stage Kariya’s installation is a classroom, yet, at the same time, could be a prison, a barracks or an abandoned house where graffiti/scribbling is found on the walls...

Yasushi Kurabayashi, “Sign of The Times”, Mizuma Art Gallery, catalog

 

1994

Yasushi Kurabayashi “Kariya’s work is an action complete unto itself with its own complete meaning...Kariya’s work does not present a world situation that is looked at ‘objectively.’ Instead he strives to grasp the world as a whole, including his existence...”

Yasushi Kurabayashi, “Open System”, Art Tower Mito, catalog

 

1994

Seiichi Watanabe “...The end of life, the cessation of a national system or ideology are all influenced by a sense of termination...Today, have many artists experienced or claim that the horrors of termination are inevitable ?...”

Seiichi Watanabe, “Open System”, Art Tower Mito, catalog

 

1994

Akio Sagegami “..the expression of his work is in his writing, more specifically, the sutra

 writing, which he has simply named ‘SUTRA’ ; the string to connect everything from dust

to debris as one organic living unit...”,

Akio Sagegami, Shodoh Kai, magazine, Aug.

 

1994

“Installation...his grid (the axis of co-ordinates) drawing on the gallery wall and floor along with placement of the flowers, chalkboards, candles, and the white cloths of fragments... relating to the work at Art Tower Mito’s gallery wall...”

Nikkei Art, magazine, July

 

1994

“It was shocking ...Kariya’s work...100 wrapped dead bodies, Collapsed girl and vulture waited...questioned us in what is the real beauty ?...” 

Gallery, magazine, July

 

1994

“Kariya’s life work theme; ‘The existence is what ‘The now is’ writing is”

Nikkei Art, magazine, July

 

1994

“Open System as ‘94 Mito Annual...”

Artist, magazine, Taipei, June

 

1994

Junichi Konuma “Strong and powerful, Kariya exhibits material as historical evidence and proof of its preexistence”,

Junichi Konuma, monthly art magazine BT, June

 

1994

Tamaki Harada “Every event of the world is connected to our time in ‘The now is’”

Tamaki Harada, CAZ, magazine, 5.25

 

1994

“as many as 100 human figure objects, wrapped in white cloth, Kariya’s caustic statement on ‘WAR’...”, 

Asahi shinbun, newspaper, 5.12

 

1994

“Installation, Hiroshi Kariya’s The class room with labyrinth’ expresses our today’s world.”, Art Tower Mito, Mito Annual 1994, 4 artist were selected for this year.

NHK TV video Sunday Review, 5.8

1994

“Sign of the times...Hiroshi Kariya, a N.Y.-based sculpture and art journalist, records words from articles in the news and in journals on tiny blackboards. His installation of 1083 pieces plays up the ridiculous repetition of life’s events.” 

Tokyo Time Out, May

 

1994

Chie Kaihotsu “human figures wrapped bodies attached with many small chalkboard, and written topics from the daily newspaper. It seems like an unusual kind of simulation art, but every detail of work is related to his concept; ‘Sutra’”

Chie Kaihotsu, Studio Voice, May

 

1994

“Expression of spirit as open- minded in ‘94 Mito Annual”,

CLIQUE, magazine, 5.5

 

1994

Ryoko Hirabayashi “...to guide art for a higher level of system”,

Ryoko Hirabayashi , Elle Japon, magazine, 5.5

 

1994

“His work examines the sign of the times, with his unique work; Journalistic Painting, Sculpture’”

Geijutsu Kohron, magazine, May

 

1994

Tamaki Harada “Our world exists as humanity does all on the same plane, at the same time, 

they are all connected in one by ‘Karma’”, 

Tamaki Harada, City road, April/May

 

1994

“Kariya who lives and works in New York City, picks up the daily topics from the newspaper, then he copies the titles on the chalkboard...repetition of his writing as much as our world events repeat... as his sutra copying...”

PIA, weekly magazine, 4.26

 

1994

“Sign of the times; monument of the world’s events Year 1993”

Iwate Broadcasting TV News, 4.26

 

1994

Tsutomu Shimoda “...discarded object as a reference to our Karma”,

Iwate Nippo, newspaper, 4.23

 

1994

Taiji Yamaguchi, “...floor filled with an enormous amount of writings in chalk, an installation, you walk on to”,

Akahata, newspaper, 4.22

 

1994

Dylana Accolla “Kariya’s powerful Boltanski like monument to war dead is a caustic statement on international diplomatic hypocrisy that contributes to the deaths of thousands of people every year...”

Dylana Accolla , Asahi Evening News, 4.21

 

1994

Miki Miyatake “Kariya believes that the dead do not vanish from the universe but are present somewhere. To acknowledge     their existence, Kariya did a performance that included chalking the topics of his pieces-places of conflicts, oppressed peoples and social problems-on the stone floor of the museum balcony, while those present offered red roses and candles along with their silent prayers....His writing is a confirmation of his life: He writes on air by breathing and on water by drinking...”

Miki Miyatake, The Japan Times, newspaper, 4.17

 

1994

Tamaki Harada “Open System-Art.. as sutra copying, he picks up-dated topics from daily newspaper, and copies on the discarded objects..Then, he assembles them, and finally he exhibits on the wall, this expression appears as a prayer to the world and for the human races”,

Mainichi Graph, weekly magazine, 4.17

 

1994

“There is a room filled with work; ‘Gate of Bandages’, ‘World’s Wall (Torn Bosnia)’, ‘ Turk’s Window’, through ‘Wrapped Bodies’, ‘Bloody Stretcher’, and ‘Sand Bags Wall’, laying on the floor while writings on the chalkboards were hung on the wall..”

Ibaraki newspaper, 4.6

 

1994

“Kariya’s performance; 100 bouquet,Candle light, Chalk writing...”

Shin Ibaraki Shinbun, newspaper, 4.2

 

1994

“Mito Annual ‘94”

Shin Ibaraki Shinbun, newspaper, 4.1

 

1994

Previews “Will Closed Art be opened ?”

Art News, Japan, April

 

1994

Yasushi Kurabayashi “Conceptual”

Prints 21, magazine, winter 

 

1994

Yukiko Shikata “Open System”

World Art, magazine, Autumn

 

1993

“In Memory of 1992”, catalog, Spark Gallery II, April

 

1993

“Fax from New York; article of Kamaishi’s life-long employment policy,...  in New York Time’s front page...” 

Katsuhiko Sato , Kahoku Shinpo, newspaper, 5.12, 1993

 

1993

Katsuhiko Sato “Kariya expresses poverty and war victims as ‘used and useless’ by using discarded objects in his art...What can we do with the limited; nature, resources, city, and human...”

Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.11, 1993

 

1993

Hiroshi Kariya “Tale of Sutra; 9 episodes”,

Hiroshi Kariya, Kamaishi Shimpo, newspaper, May/June

 

1993

“...regarding New York Times’s article about Kamaishi as an example of ‘City as a resource’..What we have done to the city and human was consumption then abandonment...because of past mistakes...Fax from Hiroshi Kariya...” 

Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.4, 1993

 

1993

Hiroshi Kariya “What is here, is one thing; that is everything, including organic matter, time, space, and events

which become one single unit... nothing exists apart from that. My work of art: its expression, activity, and our life’s form are on the same plane”,

Nikkei Image Climate Forecast, May, 1993

 

1993

“Mourning in 1992...” Art Now Japan, Mar./Apr.

 

1993

“Gallery”, PIA, weekly magazine, 3.30

 

1993

“As journalist’s report, Kariya exhibits today’s wounded world; Somalia, Bosnia, AIDS... in his Art: Journalistic sculpture/ painting”

Asahi, weekly magazine, 3.12

 

1993

“In memory of 1992, includes 18 wrapped bodies..”,

AERA, Asahi Shimbun Weekly, 3.30, 1993

 

1993

“The Year 1992: as journalist, Kariya shows the sadness of our world in his ‘In memory of 1992’”, 

APO, biweekly magazine, 3.18, 1993

 

1993

Katsuhiko Sato “...will we also become the discarded object,... in the near future ?

The discarded object: it was useful, but now useless. We live, and die... a reference to his mother’s death, Kariya exhibits illness and sadness of our today’s wounded world in his ‘In memory of 1992’”, 

Katsuhiko Sato, Kamaishi Shimpo, newspaper, 2.26,1993

 

1993

415 Chalkboard Installation, 415 Palestinians

“Peace Before Land” Rabin

“Land Before Peace” Assad

Hiroshi Kariya, In Memory of 1992, Spark Gallery II, Tokyo

 

1990

“ICA represents thousands of sutra, by Hiroshi Kariya”, 

Penn Life, news, Phil., 3.8, 1990

“Sutra Tomb”, ICA Philadelphia, 1990

 

1990

“Memory: Ilya Kabakov’s wall”, ICA Philadelphia, 1990

 

1990

“Kariya illustrates the principle of the sutra by linking his installation with those of ICA’s

past. He recycles walls used in a recent exhibition by Ilya Kabakov,...”,

University City Review, weekly news, Philadelphia., 3.2, 1990

 

1990

“1 Piece = $1bill cash = 1 person’s only; No $10, $100, $1000, nor $10,000 bill is accepted

Hiroshi Kariya, 800 Kabakov’s wall fragment”, ICA Philadelphia, 1990

 

1990

“8000 Years Spring, 8000 Years Autumn”, ICA Philadelphia, 1990

 

1990

Edward J. Sozanski “Contemplating, Creation, Rebirth...It attempts to stimulate

in the observer a higher consciousness akin to a state of grace,..far from an outstanding objective...installation represents a prolonged act of meditation on immortality...the process of making it...is more consequential than the artifacts it produces. It is, in fact its essence... search for communion with a cosmic unity.”

Edward J. Sozanski, The Philadelphia Inquirer, newspaper, 3.18

 

1990

Robin Rice “Still breathing, still thinking,...Kariya’s work...an ‘ordering’ activity that is being recorded, and that activity is a spiritual end in itself.”

Robin Rice , Philadelphia City Paper, newspaper, 6.22, 1990

 

1990

Sutra

One Thing In Everything: Everything In One Thing

 

1989

“Begins and ends” curved stamp, ink, plumb pointing the core stamp, Exit Art,1989

 

1989

“I-ching chance hexagram, the choice, the chance, the change, the season, the period, the symbol”

 

1989

“the image, the title, the word”

 

1989

Kunie Sugiura “the work is entitled ‘Sutra’ . This title refers as searching for the meaning

of existence, and is a study in the concept of infinity..”,

Kunie Sugiura, BT, monthly art magazine, July

 

1989

Sutra: Origin Sanskrit; Meaning literally thread or string, sacred cord or measuring line, sketch, plan

This work is a telepathic message from Kariya’s higher self written in a single phrase. Coded to the most simple of forms. It focuses on the finite concept of being in recalling the infinite reality of being. It brakes the barrier of time, space, and matter and reveals limitless isolated moments for a universal oneness. 

Despite linguistic forms, this writing divulges a pure abstract awareness. inherent within the independent consciousness of time / space/ matter immediately proceeding the present. All is happening at the same “the now is”, but with different level of interpretation, or frequencies, or dimensions. As we are all at the state of learning process for the universal enlightenment of love. Not the fear fabricated factors to control humans.

 

1989

The work is a composite of three functions:

(1) to affirm the writing a s generative force.

(2) to produce a *ruler to measure the writing.

(3) to recall, on the surface: the form of sutra.

*language verse by which to gauge or describe symbolic forms.

This could be by ruler, structure, materials, system, rather than writing.

 

1989

3    From the now all proceed

    In the now all exist

    and to the now all return

2    This is the now, that is the now,

    From the now the now has come

    The now remains the same

    The now subtracted 

    from the now results in the now  

4    The now is here

    The now is there

    It is near and it is far

    It is inside of all this

    and it is outside of all this

    All beings in the now

    and the now in all beings

1    “What is the now ?”

    “Whence has the now come ?”

    “Where the now going ?”

5    The now is all this, and again

 

Hiroshi Kariya, Recreation from the text by Upanishad, 1989

 

1988

“Stone sutra” curving on lime stone, 1988

 

1982

“One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes”

acrylic on drifted wood, 1982

 

1982

“29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work”

acrylic on drifted wood, 1982

 

1982

“83 Words in one thing: one thing in 83 times; 83 times in one sutra”

acrylic on drifted wood, 1982

I am still writing “the now is”

I am still thinking about it.

 

1982

“One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes”

acrylic on drifted wood, 1982

 

“29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work”

acrylic on drifted wood, 1982

 

“83 Words in one thing: one thing in 83 times; 83 times in one sutra”

acrylic on drifted wood, 1982

 

1981

“Water sound instrument”, Gowanus Memorial Art Yard, 1981

1981

John Shell “Talk of Town,....It is called ‘The’  sound”, he told us that the sound is

the meaning of time,...to be experiencing the time is sound...”,

John Shell, The New Yorker magazine, 7.27

 

1981

John Perreault “gigantic...performance of his ‘The’ sound; this water pool sound

instrument was the most visual thing I had come across yet.”

John Perreault, The Soho News, newspaper, 5.27

 

1979

Kay Larson “built a pool and amplified the sound of water

dripping into the center plop, plop, plop,...

It was a contemplation piece; you were to focus your attention on

the plop sound and notice that it seemed disconnected from the image of the droplet

...entering into the mood of a work like this gets harder as the years drag on.”

Kay Larson, Voice, weekly newspaper, 10.2

 

1979

“Meditation”, PS 1 Museum, 1979 (Water pool, sound, light)

 

1977

“The now is” sutra

1977

One word in two hundred and thirty-four strokes;Two hundred and thirty-four strokes in one work; 

One work in two hundred and thirty-four days; Two hundred and thirty-four days in one meaning;

One meaning in Two hundred and thirty-four places; Two hundred and thirty-four places in one thing;

One thing in Two hundred and thirty-four changes; Two hundred and thirty-four changes in one thinking. 

“the now is” writing, typed on paper, 1977, Store at: Mizuma Art Gallery

Let The Work Be 

“No Change, No Chance, No Choice, Not Here, Not There, No Progression; No Beginning Nor No Ending, No Finite Nor No Infinity, Nor This, Nor That, but with the state of “the now is” writing

“Still”, Type writer with “the now is” writing

contained in glass case, 1977, Structure destroyed.

“the now is” writing on the stone, ink on lime stone, piercing the hole, 1991, Private Collector, Japan 

 

“Writing on the stone as a brush’s traveling the world;

from north pole through the equator to south pole.”

 

1) The writing begin at a random point continued from left to right traveled geometrically,

 become a spiral line. The writing reaches the limit at the edge of stone.

 

2) The writing continues, by turning the stone. The form of ♾️ guides the direction.

       

3) The writing ends. The chance point was discovered.  The result of this writing

on the stone: The creation of an axis.

 

4) Piercing the stone axis: begins and ends; front and reverse,

 to connect with string for another stone of work.

 

I am still counting the Brahma days in my single grasp,

beginning with single piece.

 

I am still writing the Brahma days in my single grasp,

still begin with single day.

1977

“The Is Now”

“Is Now The”

“Now The Is”

“Now Is The”

“Is The Now”

“The Now Is”

1977

“The”

“Now”

“Is”

1977

“Index to focus” Conscious, Point, Focus to What ?

“Phenomenon” Image, Vision, Thought, Message, How to sense ?

“Being” Isness, Suchness, That is, It is, Being Being Being, Continuity?

1977

“That now is”

“I am that I am”

“It is what it is”

 

1977

“       “

“vision”

“Sence”

“Illusion”

“Real ? It disappears, but close my eyes, it appears”

 

1977

“is-be” 

 

 

2012 0605 1060 微生物の本体は酵素 

2012 0605 1059 保険、製薬、医者が三位一体

2012 0102 1019 あなたは死なない 

2012 0102 1018 あなたは今は人間です

2012 0102 1017 あなたは内にある全部です

 

2012 0102 1016 あなたが宇宙を創った

2012 0101 1015 夢中説夢

2012 0101 1014 自分を忘れ思い出す

 

2012 0101 1013 あなたなしには何も存在しない

2012 0101 1012 存在を創造したのはあなた

2012 0101 1011 姿を変えたあなた

2012 0101 1010 あなたが「出来事なのです」

Selected from Twitter @Me_We_Me_We 2012

内観現実

目を閉じると「現実」が起きます。目を開けて見る世界が「虚構」。

言葉は物質です。でっち上げのグリッドに繋げ物質化させ意識を作動させます。

「明日何が起こるかわからない」という表現は不安が隠されている罠。

「外側の世界」という表現は、分断意識の罠が隠されています。

同様の方法で、自身は好きなように創造をコントロールできます。

 

この文章も含め書き込みの言葉の洗脳によって物質密度に誘導されます。

 

安堵感を持って響くとか、平和を思う、祈る、願うの類も反作用の罠。

 

祈りません「そのようになると」決め、そのイメージをします。

 

他力本願は、他に何々をして頂く、潜在的支配下を認める罠。

無数に偏在することごとくとはひとつも残さず全て同時存在です。

 

段階的な、少しづつ、第三密度脱却云々は差別暗示の信じ込ませの裏罠。

自由を求める、という罠。元々自由であるのに、何故求めるのか。

刈谷の臨死体験記憶の断片記述から​4/2012

 

 
 
 
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24

GOWANUS MEMORIAL

 
 

   H SITE​ PRESS  

2000s    2020    ARCHETYPE

             2018    O.BURAKHMEDI

1990s     1998    OMATA IZUMI

             1998    ERIC MEZIL

             1996    M.MIYATAKE

             1995    A.M.WEAVER

             1994    Y.KURABAYASHI

             1994    S.WATANABE

             1990    W.SOZANSKI

1980s     1979    OTHERS