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

33080AA1-E6F8-45DB-BDED-50190C4B38A2_1_2
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 | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 |
March 6, 2019
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Private Collection, USA

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Private Collection, USA

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OSDLM 2018, Work in progress.for ARMORY 2019

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| TELEPATHY | OSDLM2018L |

 | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 |
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| TELEPATHY | OSDLM2018R |

 | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 |
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STATEMENT

It's All About The One Piece And Millions of Others
Law and Order / His-Story

The intention for my work this time is to establish a distinctive law and order, and leave all traces directly related with the whole creation.

It is then, to investigate the illusion and the reality how we see our world is. (This is just 1 piece of my 1,051,643 pieces of stories on 3/6/2019)


The illusions and meanings that contradict and adhere on the surface relates to the a priori of viewers’ law and order.


The artwork is a document of my act relating to creation or fabrication and whole story is written or programmed under my law and order, with specific guide lines, directions, numbers, erasing marks, re-writings, mistakes, and where all traces left are hidden behind the layers of many surfaces.


The surface that the audience sees is not what I have created, but something that pertains to a priori; relating to or derived by reasoning from self-evident propositions. (A priori, Latin for "from the former" )
However, it is also possible that what you see in the work may be an artist’s accidental drippings on the plate or canvas.



Generally, from a distance, the characteristic of all images connects with the flow of energy, transparency, and reflection. Upon closer view, you may notice the details beyond the layered surfaces, and the flipped images. All pieces are fragmented, assembled, and connected. All pieces are relative to each other, guided by others, move in the same manner, and hold secret or hidden meanings.



“What’s all this? Is it the seeds speaking?” The key might be in the writings, numbers, faces, seeds, or maybe in the question itself...
The work seems to make you ponder and evoke such questions.

Typically, an artwork is dependent on artist’s hand, through his passage to marking the work while under his law and order. The artwork is not to portray a subject, but to evoke.


You may think you have found a mistake, but I don’t make mistakes; just joyful little calligraphic coincidental-drippings.

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.

Mother (Detail) A1
Mother (Detail) A1

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. 22"x22"x1.5" (availability: pending)

press to zoom
Mother (Detail) A2
Mother (Detail) A2

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) A3
Mother (Detail) A3

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) A4
Mother (Detail) A4

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) B1
Mother (Detail) B1

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) B2
Mother (Detail) B2

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) B3
Mother (Detail) B3

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) B4
Mother (Detail) B4

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
Mother (Detail) C1
Mother (Detail) C1

Ink on White California Small Seed, Vinyl Resin, Whiteout, Scotch Tape, Plastic, Screw, UV protected spray, Canvas Background. (availability: pending)

press to zoom
 
 

「It's All About The One Piece, And Millions of Others」

⭕️

Law And Order / His


   Kariya Hiroshi says that the code is in “the index to point what is the illusion and 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.


   Kariya does this through his art, thriving “for the audience to experience, contemplate: to visualize the physical image within their timeless, dimension-less, space-less, matter-less, but within the state of endless being”.


   “Visualization is the key, landscape of life”, - says Kariya, “Landscape of making, landscape of creation or fabrication, documentation of direct making, rather represents the figures.


   My work is not to portray a subject, but to evoke.”


   However, it is all connected, my dear friends...”The Is Now”.
That is why his mission and the main idea of his art - is “It is all about this physical world, including words, symbols, image, and thoughts. Illusion is what we believe 100 percent, not 99.9999999...%, as what our reality is all about to create or fabricate.


   Reality is what we believe 100 percent, not 99.999999...% in this physical world.”


   Artists are from this world, do not worry, but they know and see something you’ve forgotten. And the next time you will see a piece of art that is not so simple, be happy to meet the new level of awareness. Remember that art is to see the reflection of your own God in that mirror, made by an artist.


   Do not ask the artist to explain, cause your own God is waiting for you, not for information.


   And, anyway, one should know only that “It is about the One Piece and Millions of Others”...


.................
Mizuma Art Gallery, Tokyo, January 2018

article by @artkukhnia Olga Burakhmedi


⭕️

Thoughts

   There is nothing useless, mistakes, correct or wrong in this world.
What is called trash, garbage is equivalent to what is named as value, honor, sublime.


   It is an absolute matter that is essential. So it exists. It is for them to exist as a part of the system of existence.
It is, because as a manifestation of the different aspects of existence, each complements to connect each other.
It is, because it exists as a function of existence.

   Why is it present, if it is unnecessary?
One purpose of the work is the presentation of this illusion.

   What is said to exist under this three-dimensional is not only one that is visible. Feelings, misunderstandings, or illusion to believe for real, that is to say, believing in reality could be an element under three dimensions.


   I will call them "the now is" for everything including the illusion, what you call it "thoughts" or "believe" under these three dimensions. Though, I can not be thrown away those things that are entitled "not worth their existence".

(quote for ICA philadelphia, 1990)
 

⭕️

   The work is the concept of a binding string called "Sutra".

It is to link, focus all in one.

   The work is a composition of three functions:

(1) To affirm the writing as a generative force.

(2) To produce a rular to measure the writing.

(3) To recall, on the surface, the form of Sutra.

(quote for ICA philadelphia, 1990)

⭕️

"Seed Sutra" "Seeding"

   The work is made for 1 day work on one frame. The dimensions of the work derives from the dimensions of the writer's palm opened.
 

   The work is a rular to measure the three-dimensional references.

   Quantity per hand = about 100 pieces (sometimes, just 1 piece or none)
 

   The work "Seeding" or "Seed Planting" is the second stage of work.
The seed is pasted on a transparent plate following the layout sheet behind the plate.

   Initially, this "seed planting" began for the purpose of preserving the past seed sutra works.

   Along with it another series work "face sutra" was produced, the record of passage of time. The work is cut out face from the daily news articles, then pasted on the reverse side of seed.
The work was made for the different evidence of "sign of the times".

As a data recording process, numbers or arbitrary images were produced in parallel.

 

 

法と順列 /彼の

⭕️

個も全ても同時

 作品は独自の法と順列を設け意図され、その制作に関わった作家の個人的なモノ・コトとの記録の産物である。
 表面の矛盾と恭順のイリュージョンや印象は作家のそれと同様に観客の法と順列に於ける自由なアプリオリ=先入観と異ならない。
 作品は観客自身の「イリュージョン」の計器である。「それ」は専らが作品風景と観客ひとりひとりの「先見」と時空間と場、それら以外の流動しつづける生の主観との「ずれ」である。自由に個と全部の同時にそれが起こる。


 作品は想像=創造・捏造という行為の記録である。記録は自らが設定した制作上の法と順列から始まる。それらは制作の手順や、方向、番号、記号、記述ミス、その消去の痕跡が何層にも重なり裏側に配され隠され残されている。それら配列の結果である表面ーそれは掘り返されれば現れる表面、真実を覆い隠す新たな真実、証拠性を提示するのである。

 表面を見る観客にとっては、単なる表面(またはキャンバス)上の偶発的な滴りを見ているにしか過ぎない仕掛けである。そこに観客の先入観が導入され顔=表面に探し求める既知のイメージとの遭遇に、アプリオリの働きが作用するかもしれない。曖昧さとはイリュージョンの味なのかも知れない。


⭕️

波動

 一見、遠くからのそれは、全体と部分が繋がった、勢いのある流れ、波動、龍脈、透明、反射であろうか。近づくそれは、幾層にも重なった面、反転する粒や群のイメージであろうか。


 全体は相対的で関連し合い組み合わされている風に構築されている。これらの情報の配列によって、天にあるものは地にもあるように「他を見る」ように、その見え方の無限に無数に。秘密のごとく、見えなく、隠された意味、真実の見え方、思考の根拠など、いともた易く直ぐ変わる…

⭕️

想像の内の創造、でっち上げ

 作品は作家自身の手による、実践による経験が作家のテーマである。

自身の自由な法と順列の下に経験する、その体験過程を作品にする。その法の下に間違いと呼ばれること、ものが含まれる。意味づけのでっち上げの根拠を自らが体験し問いに巡り逢える経験である。創造、捏造も想像のうち。