OSDLM 2017
One Stroke Dotted Line Mizuma

  The work "OSDLM 2017" is a collage, of a handful of daily works of seeds, on a transparent plate surface. There are two layers, one on the front and the other on the 2nd layer behind, with seeds on the front and data of the production (instruction, quantity, location, mistakes, corrections, rewrites and fabrications) on the back.


  All works have a maximum of 12 layers, and the seeds of the past works to present are composed of a landscape where energy flows.

  The original work is site-specific and was exhibited at Tokyo Mizuma in 2018. Later, the work was divided into transportation, store, and to exhibit easy format, and then this is the first exhibition. The image is adopted from the 1984 scribble series that started among with the seed sutra series, and is the appearance of a map that travels in space and time, or if any, to meditate.

(Hiroshi Kariya)








Legend of Seed

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

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. 

(The Armory Show quote, Hiroshi Kariya, 2019)

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.

Olga Kopyrusha on Hiroshi Kariya

Law And Order / His

「It's All About The One Piece, And Millions of Others」
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...%, says Kariya, 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"

Olga Kopyrusha
Mizuma Art Gallery, Tokyo, January 2018

article by @artkukhnia Olga Kopyrusha



Hiroshi Kariya [quote]


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.


Hiroshi Kariya




法と順列 /誰彼の




























世界は「the now is」三文字である



 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。言質のヒントは旧約聖書文中の「そはありてあるもの」「今在し、昔在し、後在し」、仏典の「ナモアモダボ」の言意構造にインスピレーションを受けた。期せずして21歳の臨死体験の記憶が渡米機上で上から眺める雲間に薄ぼんやり微んでいた。「the now is」の三文字を黙示させようとする三位一体の流れが時空物象事象言語では説明できない何百色もの光が一瞬の速さで身体の内外もなく透き抜けて一百千万億年を渦舞き続ける流れである。自分はその全部であった。既に全てを幾度も何度もそのものの流れ、波、音、光であった。



 コンセプトの特徴はこの三文字「the now is」が行為としてこの第三密度、物象世界に下り実現を果たす時は、その精神は時空観、場、誰、何に於いても「the now is」の三文字と同時に在り全てと共に完結する実体である。読まれる場合においても、意識に昇らせる行為においても同時である。そして、この云いは、人間の人間による人間に向けた人間の作った意味に於いての合意があって可能な自然直接描概念という芸術である。
































⭕️”The now is”の記述がある限り作品は完成しない。
⭕️”The now is”作品は完成しない。
⭕️”The now is”の記述の如何なる部分も、全体に組み込まれるようにできている。だから、それ自体の未完成から逃れられる。だから、作品は完成しない。
️⭕️”The now is”を想像すること、意識すること、読むこと、思うこと、などがふと、在る限り、世界は完成しない。(とひとは、いくらでも語られる)









刈谷は、渡米以来1977年から「the now is」を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、初まりは何度か中断しながら続けられてきた。


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」とは意識の内在無限であり、外の世界では連続してつづく言葉のイリュージョン、その普遍・不変の表現である。時空を超えた、われわれの心の在に発し、常にそこにい続けている境地を思い出すための。


朝、目がさめると「それ」がやってくる、生を「また」「繰り返し」「学べ」「である」。「生」その繰り返しが写経です。私には「その現在なり」はイリュージョンです。「だが、しかし、そうではない」を生き繰り返し、お経「the now is」の物性世界を「お楽しみ下さい」という波動メッセージなのです。目を覚まし、息・いき始めたらその波動にお乗り下さいという。


*更新 4/2018 東京アートビート



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