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© 2017 by Hiroshi Kariya. all rights reserved.

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It's All About The One Piece

And Millions of Others

​​

 

0 101100 101   001001 00110 NYCNY1999

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"No sign"

Record

of

Making work

Sign

of The Times

Ingredients:

Plaster

Water

Room Dust

Leftover Debris from previous work

News article

Title of the day

"the now is" writing

Fossil Chalk Series,

Codex (I-Ching Hexagram):

Time: Color of season

Period

Passage

of making work

If you dig out

You may find the time, memo and/or message to the future might be hidden.

Debris are

Holly Buddhas,

even though they look shit.

That why I save them almost all.

So, now I became a part of them.

Holly Shit !!

8"hx24"w, Mixed media: plaster, water, plastic, acrylic, rain, silicon

mistake?

Upside down?

There is no such thing.

It "is" a part of it.

The work is making the codex: transform the illusion of time, chance, period on to the surface.

 
 

1970's

Karina's studio at 359 Canal street was former studio of Nam Jun Paik, then Ay-O, lived there as FLUXUS activity was performed. Dick Higgins studio was downstairs...

More: 359 Canal Studio: FLUXUS Magnet

1980's

Self Portrait: "the now is" writings on various objects, (random pick + shred) page of Bible, Quran, Heart Sutra, NY Times, World Atlas, post cards, milk crates, memo papers, card boards, chicken bones, pork bones, ox bones, receipts, stickers, sea shells, stones, peble stones, drifted wood, construction debris, sheet rocks, craft papers, shopping bags, paper bags, duct tapes, sheets, cloths, old photos, found woods, picture frames, napkins, on top of memos, plastics, old records, record tapes, rices, beans, seeds, dried bread, pasta,...

Exhibited at Exit Art, 1989, traveled to ICA Philadelphia in 1990.

2000's
 
 

Art Tower Mito Web Project:

In Memory of 911, 2001"

4 Line Poem with Seed Sutra

Others

 
2010's

"Wounded Mother And Her Children"

Fossil Chalk, series work, is made with plaster mixed with shredded printed news article titles, twitter articles, room dust, studio debris, plaster debris, left over articles, cloths of writings, paper scrap, scrap metal, plastics, nails, screws, pencil leads, job site debris, and/or plastics, rasin, silicon...

Tokyo Designer's Week Art Fair, Tokyo, 2011

organized and presented by Mizuma Art Gallery, Tokyo

 
FLUXUS Magnet
Kariya's first studio, 359 Canal street was former studio of Nam Jun Paik, Ay-O, Tatsumi Orimoto, Kazu Butsuhara where FLUXUS activity was performed. Dick Higgins studio was downstairs.
Because of that FLUXUS magnet, he has begun meeting and linking with Peter Frank, Bettina Riedel, Bernd Jansen, Alanna Heiss, Alex Kayser, Johannes Lehnet, Hilmer Boyele, Wolfgang Luy, Raimond Van Weil, Wolf Jahren, Yasunao Tone, Takahiro Kimura, John Cage, Ales Oldenburg, Cyril Christo (Christo's son), Keiji Uematsu, Richard Nonas, On Kawara, Inge Mahn, Vito Acconci, Nancy Holt, Bruce Fier, Dennis Oppenheim, Wolfram Erber, Monika Baumgarten, Stephen Reichard, Joseph Beuys, Arno Jansen, Dorothée Bouchard, Bert Gerresheim, Daniele Spoerri, Günter Uecker, Hilla Becher, Ushio Shinohara, Hiroshi Sugimoto, Shintaro Tanaka, Kosei Sasaki, Kazuo Kawasumi, Tadayuki Naito, Satoshi Nakazato, Gilbert Hisao, Susan Weil, Bernie Kauchenburg, Robert Rouchenburg, Doug Olsen, Nobu Fukui, Burd Breivic, Isolde Wahrin, Yoshi Kakedo, Jeanett Ingberman, Papo Colo, Yoyo Friedrich, Saskia Friedrich...
 

It's All About The One Illusion

Hiroshi Kariya, born in Japan, is a New York based Sculptor and Meditation Creative. His diverse and playful artistic practice, which includes sculpture, and installation, explores the conceptual aesthetic of things through random encounters of materials, re-assembled situations and spatial relationships.

 

His work is an expression of the world to grasp through his verbal tool. He produces the key element as a window to investigate the illusion of “the now is”. The illusion,

if any, for him, would be his paradoxical entry to another illusion, the reality.

 

His fundamental characteristic tool is "the now is" writings on the various objects.

It is a verbal tool to contemplate that everything is “obviously” exist simultaneously, and is right to be ponder what all is connected right now, is, the, now, is. 

It is for sure, nothing is separated, nor missed at the same moment in his "the now is" concept. Yet, it must be still within his verbal content, there is nothing built in meaning, but we added up with meaning.

 

Kariya has exhibited early year at the MOMA PS1 "Sound Show, special project: Meditation" 1979. Exit Art "Sutra", 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990, then follows various other museums and galleries.