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© 2017 by Hiroshi Kariya. all rights reserved.

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Wounded Mother and Her Children

All pieces of the work, including scattered dust, have places to fit for returning to the original.

"There is no such thing as unnecessary fragments, nor useless fragments".

If they are re-assembled, it is a nature that becomes the original again.

In the same way,
Every one in "Creation" is a piece of "one" built into the function. There should be no unnecessary fragments, and there should be no fragments without a place to go.


There must be a place where everything fits in a large puzzle.
And anything is a piece of a large puzzle that keeps becoming an essential part of the mechanism. That I learned from my grandfather.

This work was born inspired by the catastrophe, large scale of earthquake hit, then Tsunami attacked in Tohoku, Japan, on March 11, 2011. This work is dedicated for the people who were shed home, people of deceased or missing, and with my missing relatives, friends' spirits. This is a message to all that they never varnished, yet they are one of those essential part of the mechanisms, they exist in different form in this world. Photo images adopted here is from my hometown Kamaishi, first emergency broadcast, Tsunami wave power, also from my sis's destroyed home after Tsunami.

祈りの壁「傷ついた母とその子供たち」

作品の全ての破片は散り散りになった粉塵も含め、もとに戻るための収まるべき場所がある。

「必要でない破片、要らない破片などはひとつもない」

それらは組み立てれば、また元通りになる。

これと同じように、

「創造」の中にあるすべてのひとつひとつは、機能に組み込まれた「ひとつ」の破片である。その「ひとつ」はまた「創造」の全てを備えているに違いない。

不要な破片などないし、行き場所の無い破片なども無いはずである。


すべての断片は、大きなパズルに収まる場所を持っている。彼らは決して存在から消えてしまったわけではない。どんなものも、形が変わっても大きなパズルの一片、仕組みの「要」として存在している。と、そのように祖父から教わった。

この作品は、2011年3月11日東北に起こった大地震、大津波によって家を流され、亡くなられた、又は行方知れずになられた方々や、私の親戚、友人たちの霊との縁があって生まれた。彼らがこの全部の仕組みの一つであるというメッセージがこめられてある。掲載のイメージは、偶然にも最初の緊急NHKニュースに流れた私の故郷、釜石であった。そして津波によって破壊された妹の家の残骸記録写真が元である。

 
 

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, painting and installation, explores the conceptual aesthetic of things through random encounters of materials, re-assembled situations and spatial relationships.

 

Kariya's art is based on the composition of "Sutra", sanskrit; meaning literally thread or string (to bind the pages of book), sacred code or measuring line. Kariya composed his Sutra, in three words "the now is”, his signature tool, the key element to focus that all is happening at the same moment; events, object, people, time, and whole universe.

These words are written millions of times on the works. Writings of three words, they convey an index, a sense of immediacy and the present tense, in which Kariya experiences the creation of each work.

It is to investigate the roots of code in our believing system between the illusion, and its reality through his component of the work.

It may, for the viewer to ponder "the" now is, the "now" is, the now "is".

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 institutions, museums and galleries.

 
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