2000s    2020    ARCHETYPE

             2018    O.KOPYRUSHA

1990s     1998    OMATA IZUMI

             1998    ERIC MEZIL

             1996    M.MIYATAKE

             1995    A.M.WEAVER

             1994    Y.KURABAYASHI

             1994    S.WATANABE

             1990    W.SOZANSKI

1980s     1979    OTHERS

March 6, 2019

Private Collection, USA

Private Collection, USA

OSDLM 2018, Work in progress.for ARMORY 2019



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.

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「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 Kopyrusha



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





























「the now is」三文字



この現象世界を、刈谷は「是現在即」または「the now is」と記述する。そのヒントは旧約聖書文中のモーゼが神の名を尋ねた際の応えから「今在し、昔在し、後在し」、そして仏典の「ナモアモダボ」の言意構造からインスピレーションを受けた。そして後、21歳の時の臨死体験の記憶が渡米機上で眺める雲間に「the now is」という三文字がぼんやり飛び込んで来た。空間に文字の構造が飛び交い、記述と媒体、物性との同化、関係、変換という制作を楽しんでいる光景である。既に前世か後世で幾度もやっているような光景なのである。



この概念と行為の特徴はそのツールの三文字「the now is」が付され蓮らなり甚大な量の記述の山が陳列される形相にあっても、いつの場でも、時でも、誰においてもイリュージョンは「the now is」の三文字で完結する。








(種子経と云う造語は刈谷が命名し1989年EXIT ART, NYの展示で用いた)



















刈谷は、1977年の渡米以来「the now is」を多種多様な媒体に記述する作品を制作している。一日一握りの種子(豆粒)に「the now is」という三位一体の言葉を書き込んでいくという今回の作品「種子経」は、1984年から制作が開始され、初期は何度か中断しながらも続けられてきた。


彼独自の経である「the now is」という言葉について刈谷は「the now is」とは「be here now」という有限のそれではない、と断言します。


「the now is」の三文字の構造は「意識、現象、存在」三文字の一言一言がそれぞれの意味を補完し合い説明しつづける円環の運動を表している。その運動は我々の住む物質世界の一つ一つの生命がお互いの意味を補完し合う構造である。連続して無限に連関し合い運動するイリュージョン、時空を超えた、われわれの心の在に発し、常にそこにいつづけるイメージなのです。

朝、目がさめると「それ」が起ってくる、生をまた「繰り返し」「楽しめ」なの「である」。「生」その繰り返しが写経なのです。私には「その現在なり」がイリュージョンなのです。「だが、しかし、そうではない」を繰り返し、お経「the now is」の物性世界を「楽しめや」というメッセージなのです。




東京アートビート *作家注釈4/2018


2000s    2020    ARCHETYPE

             2018    O.KOPYRUSHA

1990s     1998    OMATA IZUMI

             1998    ERIC MEZIL

             1996    M.MIYATAKE

             1995    A.M.WEAVER

             1994    Y.KURABAYASHI

             1994    S.WATANABE

             1990    W.SOZANSKI

1980s     1979    OTHERS


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