Wounded Mother and Her Children

His Story

The installation represents a prolonged act of meditation on immortality.

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

"Don't just dump it, go and pick it up" says my grandpa.

"There is nothing unnecessary, nor useless for all fragments".

They could re-assembled, it's a nature that resume to the original again...

In the same manner, every one in "Creation" is a piece of one built into the function.

"Trash is God, dust is Buddha".

There should be no unnecessary, nor no fragments with no place to go... says my grandpa.

There must be a place where everything fits in a large puzzle.
And anything is a piece of Gods, a large puzzle that keeps becoming an essential part of the mechanism. As I was a child, we've been told to such a manner 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. As this work dedicated for the people who were shed home, people of deceased or missing, and with my missing relatives, friends.

This becomes a message to all spirit that they never varnished, yet they are one of those essential part of the systems, they exist in different form in this universe.

Images adopted here is from my hometown Kamaishi, first shocking image jumped in NHK broadcast video of Tsunami wave, and photo scene from my sis's destroyed home after Tsunami.



















   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 meditative aesthetic of objects 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. He uses this concept to connect all matters, including his construction of physical work.

   Kariya composed his Sutra, with three words "the now is”, his signature tool, the key element to focus, that all is, simultaneous, events, object, people, whole universe, including bits and pieces.

   And 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 through the creation of each work.

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

Kariya has exhibited early 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.





 刈谷の経典=お経は、彼の代名詞ともなったツールで「the now is」という三つの言葉で構成します。これは、全てを焦点に合わせるための重要な要素・構造・実在であり、イベント、オブジェクト、人、小片を含む宇宙全体のすべてが同時に一つになるコンセプトです。

 そして、これらの言葉は作品に何百万回も記述されます。 三つの言葉で記述された物質・オブジェは、各作品の制作を通して刈谷が体験するインデックス(指示代名詞)即時性、現在を伝えます。

 それは、私たちの信念体系のコードのルーツを、彼の作品の構成要素を通して、幻想とその現実との間で検証することです。 「the 」とは「now 」であり「is」とはに思惟を。

刈谷は、早期にMOMA PS1「サウンドショー、特別プロジェクト:瞑想」1979年。1990年に「スートラ」ひとつが全てに、全てが一つに展 ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990,。以後は数多くの美術館やギャラリーにて展示。



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