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2000     2020    ARCHETYPE

              2019    TWIN CODE   双生記

              2018    O.BURAKHMEDI

              1998    ERIC MEZIL

              1996    M.MIYATAKE

              1995    A.M.WEAVER

              1994    Y.KURABAYASHI

              1994    S.WATANABE

              1990    W.SOZANSKI

1980      1979    OTHERS     BIBLIO|TEXT

BIO   2022  THE NOW IS     寿限無寿限無

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



 刈谷は渡米1977年から「the now is」を記述する作品を制作しつづけている。

一日一握りの種子(豆粒)に「the now is」三文字、三位一体の言葉を書き込んでいく今回の作品「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」の記述について刈谷は「the now is」とは「be here now」ではない、分別類の言葉のそれではない、これでさえもないと云います。「the now is」とは仮象物質世界という存在を脱し眠りの世界に瞑想する空のイリュージョン不滅の表現である。事物言語時空概念を超え、一念始終不滅の行為の内にしかないと云います。

 朝、目がさめると「それ」がある、生を「また」「繰り返し」「学ぶ」「のである」。「生」その仮象現在は写経である。「その現在なり」はイリュージョンである。「うむ、しかし、そうではない」の生の営みを繰り返し、「the now is」仮象物性世界の経を「楽しむ」波調の仮想実録である。目を覚まし、息始め呼吸する波動の可変記録である。



4/2018 東京アートビート*数量更新



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)

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, one should know only that “It is about the One Piece and Millions of Others"

Olga Burakhmedi
Mizuma Art Gallery, Tokyo, January 2018

article by @artkukhnia Olga Burakhmedi



Hiroshi Kariya

Mistakes 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.

   Everything originated from the source, so it is a sign that there is a sole.


   We should verify that we are making a mistake because of their existence. Because they are, as we are, indispensable as a system of existence.

   As a manifestation of the different aspects of being, it is a sign that each exists as a function of all beings that complement each other.


   If it is an unnecessary thing, why does it exist?

   The definition of perfection includes incompleteness, mistakes, redoing, and therefore unknown.

   Questions and denials are also included. So it should allow a fragment of ironic play to human imperfect definition of value, where chances and mistakes look beautiful.

   The objects under this three dimension are not only tangible things. Thoughts, emotions, misunderstandings, illusions, all perceptions are artificial in three dimensions. All of these three-dimensional functions and trial and error make up the frequency of integration. The collective movements and the simultaneous movements are described as "existing".

   The "connection" with matters that are "called non-existent" in this world cannot be thrown away. This is because the encounter makes the return to memory intuitive. It doesn't matter, small concerns, dust and dust, or their voices and traces, make us try to read the important message as the blood, cells, and elements of life.

   The manifestation of the spirit of passing with them is left as an erasure trace of arrows, trial and error, correction, error, deception, and concealment. The devil, the angel, the foolishness, and the wise are playing the same role at the same time.

   Human curiosity reminds me of the mystery hidden behind the transparent space. Why? The faintness of the unknown is sought.

   Recall the time of submission of the hundreds of pages of positive and negative pair blueprints of hundreds of millions of years ago, which are actually known to be unknown. The mechanism is a message exclusively to oneself. To the consciousness that I knew and forgot about.

(re-assembled memo from 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」物語











 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刻を記録すること。「the now is」三文字と対象と意識が集中の下に同時に完結し存在していること。観察者としての意識でさえも観察し、同時にイリュージョン、現実、意識を体験すること。永遠不滅のこの存在を学び、検証をしつづけることにある。
























2000     2020    ARCHETYPE

              2019    TWIN CODE   双生記

              2018    O.BURAKHMEDI

              1998    ERIC MEZIL

              1996    M.MIYATAKE

              1995    A.M.WEAVER

              1994    Y.KURABAYASHI

              1994    S.WATANABE

              1990    W.SOZANSKI

1980      1979    OTHERS     BIBLIO|TEXT

BIO   2022  THE NOW IS     寿限無寿限無

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