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

One Stroke Dotted Line, 2017, 12'6"x8'3"x1.5"

Assembled of 24 frames, Mixed Media, Plexiglass, Seeds, Canvas 

Mizuma And Kips, New York, 2020

OSDLM 2017
One Stroke Dotted Line Mizuma


  All works have a maximum of 12 layers, and the seeds of the past works to present are composed of a landscape of making process with data inscription 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.

  The work "OSDLM 2017" is a collage, of a handful of daily works of "Seed Sutra", on a transparent plate. 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 work in progress (instruction, quantity, location, mistakes, corrections, rewrites and fabrications) .

(Hiroshi Kariya)










Hiroshi Kariya_OSDLM2017_Framed_F1.jpg
Hiroshi Kariya_OSDLM2017_Framed_E1.jpg
Hiroshi Kariya_OSDLM2017_Framed_D1.jpg
Hiroshi Kariya_OSDLM2017_Framed_C1.jpg
Hiroshi Kariya_OSDLM2017_Framed_B1.jpg
Hiroshi Kariya_OSDLM2017_Framed_A1.jpg
Hiroshi Kariya_OSDLM2017_Framed_F2.jpg
Hiroshi Kariya_OSDLM2017_Framed_E2.jpg
Hiroshi Kariya_OSDLM2017_Framed_D2.jpg
Hiroshi Kariya_OSDLM2017_Framed_C2.jpg
Hiroshi Kariya_OSDLM2017_Framed_B2.jpg
Hiroshi Kariya_OSDLM2017_Framed_A2.jpg
Hiroshi Kariya_OSDLM2017_Framed_F3.jpg
Hiroshi Kariya_OSDLM2017_Framed_E3.jpg
Hiroshi Kariya_OSDLM2017_Framed_D3.jpg
Hiroshi Kariya_OSDLM2017_Framed_C3.jpg
Hiroshi Kariya_OSDLM2017_Framed_B3.jpg
Hiroshi Kariya_OSDLM2017_Framed_A3.jpg

One Stroke Dotted Line, 2017, 12'6"x8'3"x1.5"

Assembled of 24 frames, Mixed Media, Plexiglass, Seeds, Canvas 

Mizuma And Kips, New York, 2020

Hiroshi Kariya_OSDLM2017_Framed_F1
Hiroshi Kariya_OSDLM2017_Framed_F1

Ink on California white bean seed, UV protected, Plastic, Vinyl resin, Tracing paper, Marker, White out, Scotch tape. Copy paper. 22”(56cm) x 22”(56cm) x 1.5”(2.5cm)

Hiroshi Kariya_OSDLM2017_Framed_F2
Hiroshi Kariya_OSDLM2017_Framed_F2
Hiroshi Kariya_OSDLM2017_Framed_F3
Hiroshi Kariya_OSDLM2017_Framed_F3
Hiroshi Kariya_OSDLM2017_Framed_F4
Hiroshi Kariya_OSDLM2017_Framed_F4
Hiroshi Kariya_OSDLM2017_Framed_E1
Hiroshi Kariya_OSDLM2017_Framed_E1
Hiroshi Kariya_OSDLM2017_Framed_E2
Hiroshi Kariya_OSDLM2017_Framed_E2
Hiroshi Kariya_OSDLM2017_Framed_E3
Hiroshi Kariya_OSDLM2017_Framed_E3
Hiroshi Kariya_OSDLM2017_Framed_E4
Hiroshi Kariya_OSDLM2017_Framed_E4
Hiroshi Kariya_OSDLM2017_Framed_D1
Hiroshi Kariya_OSDLM2017_Framed_D1


刈谷は、渡米以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、初期の頃は幾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」とは意識の内在無限であり、外の世界では連続し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、われわれの心在に発し帰る、常にそこにいつづけている境地である。

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ある。私には「その現在なり」はイリュージョンである。「だが、しかし、そうではない」を生き繰り返し、お経「the now is」物性世界を「お楽しみ下さい」という波動メッセージである。目を覚まし、息・いき始めたらその波動に生りなさいという。


*更新 4/2018 東京アートビート



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 becomes a tool, then, to investigate the illusion and the reality how we see our world is. 

 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. 

(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

Wrongs And Corrections

 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 /



























the now is



 現象世界を刈谷は「是現在即」または「the now is」と記述する。言質は旧約聖書文中の「われはありてあるもの」「今在し、昔在し、後在し」、仏典の「ナモアモダボ」(真理は呼び込まれ在るを生す)、そして21歳の臨死体験に閃光の方向を選んだ生の記憶からである。渡米機上、眼下の雲間に微む光にも見た。三つの言語のような変幻するめくりめく光波のエネルギーの流れだった。言葉では説明できない何百色もの光線のようなものが瞬速に身体の内外を透き抜けて一百千万億のそれぞれが、それぞれの中央に向かって渦巻く流れ。映像の全ての部分の全部の変幻自在がひとつに向かう無尽蔵無数の流れ。幾層にも何度にも流れつづける振幅のうねる波、音、光、瞬時の永遠である。



 作品目的はこの三文字「the now is」記述を行為とし、この第三密度、物象世界実現下に時の戒名を与えること。「the now is」三文字と対象と同時存在が意識集中の下に完結し、イリュージョンは現実に現在進行形で存在していること。観察者が自らの意識に入り意識をのぞくことさえ読まれ、観察し、同時にイリュージョンも現実も意識の自由自在の下に区別がなくなる体験にある。この芸術は人間の人間による人間に向けた人間の作りものの意味の合意下により存在するイリュージョン性である。それを検証しつづけることにある。























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