Wounded Mother and Her Children

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.

"You shall not just dump it, go and pick it up" says my grandpa.

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

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」

「捨てるな、拾って来い」

それらは組み立てれば、また元通りになる。

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。

瓦礫も神、塵も仏。

不要な破片などないし、行き場所の無い破片など何一つとてない。


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うわけではない。

如何なるものも、形が変わろうと大きな神仏の一片、仕組みの「要」として存在している。と、幼少の頃、祖父から聞かされた。

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。

彼らは姿を変え存在している、というメッセージである。

最初に呼び込んできた驚きの映像は、偶然にもチリ地震津波以来に常時されていたNHK緊急ニュース、バラバラに破壊され逆流する私の故郷、釜石の痛々しい光景であった。

ここに加えた掲載のイメージは、津波によって破壊された妹の家の残骸記録写真である。

 

ABOUT

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 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.

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 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 may, then, for us to wonder "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.

 
 

Contact

© 2017 by Hiroshi Kariya. all rights reserved.

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