Hiroshi Kariya is a Japanese artist known for his "Self-archaeological Art"—a practice in which he explores fundamental human-constructed concepts such as existence, language, meaning, and definition through various media, including collage and painting. His works incorporate personal artifacts and elements drawn from news media to present illusions that prompt reflection on the nature of reality and perception. A defining characteristic of his work is the presentation of "the now is"—a written record of the "present continuous" spanning fifty years.
A defining characteristic of his work is the presentation of "the now is"—a written record of the "present continuous" spanning fifty years. He presents objects that serve as existential records—artifacts that encompass the history of his trial-and-error processes, as well as discarded materials and waste. He moved to the United States in 1977.
Kariya posits that "the entirety of existence—encompassing infinitely multiplying cosmic concepts, ceaseless change and rewriting, invisible particles, electrons, atoms, photons, and even the margins of error within AI algorithms—resides within a singular, simultaneous inscription of 'the now is.'" Within the records of his creative process—which include errors, revisions, and restarts—he presents a contemplative inquiry that scrutinizes the very nature of “the, of what," “now, of what,” and “is, of what.”
"Self-Archaeological Art"?
Kariya’s art is an endeavor to investigate and explore the archetypes of existence. Here, "existence" refers to the act of tracing back to the very origins—the *source*—of how a work comes to take shape and manifest as a physical object. This process begins with the three-word inscription "the now is," and the work unfolds longitudinally—constantly realizing itself and undergoing continuous renewal within the present moment.
Seed Sutra; The Overall Spiritual Experience
The spirituality of bean-sized Seed Sutra copying is said to be "prayer itself" lies in the fact that it connects invisible "simultaneity" and "balance" with visible, tiny seeds. The accumulation of over 1.1 million seeds (already over 1 million as of 2018, and still ongoing) gives a sense of a cosmic scale that transcends the individual's "present moment." When confronted in the exhibition, the closer you get, the more you can see the underside of the beans and the traces of corrections, and the beauty of the surface and the inner layers of time overlap, making it an experience in which the viewer themselves questions "the now is."
Seed Sutra; This is not religious faith, but a fundamental affirmation of human existence. The vibrations of waking up in the morning and continuing to live are diligently compiled into "sutras" each day, and a prayer is offered that we are one with the universe—that is the essence of Hiroshi Kariya's bean-sized sutra copying.
Kariya interprets "shu"—a word-spirit (*kotodama*)—as a primal energy source capable of manifesting as various vibrational states, such as *shu* (master/lord), *shu* (seed), *shu* (curse/spell), *shu* (gathering), *shu* (hand), *shu* (sake), *shu* (necessity), and *shu* (cultivation/discipline).
The "Will" (*i*) emanating from the Master generates a vibration that gives rise to "Discernment" (*shiki*); this combination forms "Consciousness" (*ishiki*), creating a virtual reality and bringing about the "Manifestation of Will" (*i-meiji*).
The process of realization—which encompasses even illusions—originates from the hidden "Intent" (*ito*) contained within the word-spirit "Shu." As an avatar—a "Thee" (*nanji*)—one experiences the "Intent," the "Thread" (*ito*), the "Lineage" (*kei*), and the "Sutra" (*kyo*) emitted by "Shu" and the "Self" (*onore*); thus, the "Seed Sutra" (*shuji-kyo*) continues to unfold through the realizations gained from these experiences.
Kariya has participated in numerous solo and group exhibitions, showcasing his unique perspective on art and existence. His works are held in various galleries, including Mizuma Art Gallery, where he continues to be a significant figure in contemporary art.
Kariya has exhibited at the New York Armory Show in 2019. MOMA PS1 "Meditation" for the "Sound Show" special project, 1979. Exit Art "Sutra" 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" 1990, "Et Maintenant" ENSBA, Paris, 1998, lectures and exhibitions at sebral organizations, museums, galleries.
This term was conceived by Hiroshi Kariya in 1990, on the occasion of an exhibition at the ICA Philadelphia. He introduced this concept into a three-part exhibition titled *Sutra*, which explored the circumstances leading up to the show, the creative process itself—from inception to installation—and the underlying mechanisms of creation, destruction, and subsequent regeneration.
Kariya's self-archaeological art primarily explores themes of "oneness," the simultaneity of existence, and the relationship between representation and reality. His work often questions the nature of the present moment and the structures of social reality, using art as a means to reflect on and document these concepts.
That "all things—including the virtual and the invisible—exist simultaneously as a single, unified life form." His work poses questions regarding the essence of the present moment and the underlying structures of social reality; utilizing art as a vehicle to continuously document and contemplate these concepts, he persists in his observation of the surface.
Kariya's art employs elements that challenge the viewer’s perception, thereby transforming the relationship between reality and illusion into an illusory experience. He incorporates news media to scrutinize the superficiality of the various issues plaguing contemporary information society, introducing visual symbols into his work that invite the viewer to contemplate social narratives, the essence of existence, the hidden facets lying beneath the surface, and—ultimately—archetypes.
"All things—absolutely everything—exist simultaneously within a state of flux."
"Not a single thing is overlooked."
"Things beyond our means to know... things unseen..."
"Even AI, refuse and evil are encompassed within them..."
"They originate within one's own consciousness."
Kariya’s Self-Archaeological Art proceeds in three steps: First,
① Designates the "Subject" as the experiencer;
② Invokes "that" truth;
③ Describes the simultaneity of "that" present moment.
Here, a single, simultaneous three-word phrase—"the now is"—is recorded.
It tacitly signifies the intention to observe the illusory activity of this temporal frame.
Throughout this journey, Kariya creates objects designed to examine the trajectory of this "imprint." The materials utilized for this examination are presented as fragmentary works. Furthermore—guided by the realization that representation is in a state of ceaseless flux, and that "existence" is merely the trace of that very transience—he presents these investigative materials (which function as "likenesses" of movement) as a single, simultaneously living entity—as a landscape.
Everything exists simultaneously. Kariya’s work continuously conveys the message that absolutely nothing—not a single thing—is left out. Fundamentally, the objective of Kariya’s art lies in sustaining the consciousness of this very act.
..fragments—including shards and even the dust from the dismantling...William J. Sozanski article
His art integrates every possible occurrence that might arise during production. This ranges from unconscious errors to corrections, fabrications, discarded materials, traces of experimentation, and reworkings—extending even to innocent acts of deception or feigning.
Hiroshi Kariya’s Self-Archaeological Art primarily explores themes such as "Oneness," the simultaneity of existence, and the relationship between representation and reality. His works frequently pose questions regarding the essence of the present moment and the underlying structures of social reality, utilizing art as a vehicle to contemplate and document these concepts.
What techniques does Hiroshi Kariya use in his work?
Hiroshi Kariya uses techniques such as Japanese ink, vinyl resin, and acrylic board in his collages and paintings, often incorporating materials like paper towels and scotch tape. His works explore themes of simultaneity and the relationship between representation and existence.
Kariya employs "information from the external world" as the archetype for his artistic elements. Dogma—or instruction—is constructed through the volume, quality, and frequency of information, eventually transforming into an archetype itself. He presents these archetypes—including "prophecies"—as entities that have been "pre-implanted" within us. These elements serve to direct the viewer's gaze toward a critical examination of the forces that influence their own perception and thought processes. At the core of this work lies a "secret mechanism"—a "point of origin for thought" lurking beneath the visual symbols—designed to provoke contemplation on the true essence of the constructed social narratives surrounding contemporary societal issues. Furthermore, the piece incorporates an "unraveling" of the distinctive characteristics and constituent elements of news media.
News media is presented to us as factual information—as "truth." Yet, we currently face an era in which the very question of whether something is truly "true" or not is being challenged more intensely than ever before. Kariya argues that the debate over "truth" is, in fact, a pitfall of brainwashing—a device employed to perpetuate the illusion of chasing after ever-deeper "archetypes." Media thrives on debate and controversy; the more people clamor and make noise, the more active and effective the mechanisms of brainwashing become. From the perspective of *Sunyata* (Emptiness), Kariya presents the "frame" through which we impose such fixed judgments. His aim is not to judge whether that frame is "good" or "bad," but rather to reveal the true *nature*—the very "state of being"—of the frame itself. A "painting" is a quintessential example of this; "language" is another; "existence" itself is yet another. Even "this very text" you are reading is one such instance. Kariya continues to present these various illusions under the rubric of "the now is."
Background: Water pool light+sound installation, 1979 MOMA PS 1
You may focus "the now is" only time for every moment.
Time is the human invention, no such thing exists.
Brahma: The One called Absolute
1 Brahma Day: The One called 4,320,000,000 years
Our universe is less than 2 Brahma days old: 8,640,000,000 years
Background: Water pool light+sound installation, 1979 MOMA PS 1
