I certainly that I stepped into the space of mizuma Art Gallery exhibition was held twice. But at that time I was wondering where I really was? How I could think like the way I feel from this exhibit to see the detail consists of more equal-sized pieces and also superior of all spatial experience. And the space was a different dimension and sum of just one piece.
I think in my own words in English of that “the now is” that Kariya, has been writing to the seeds since 1984. The specific of Demonstrative Pronouns of 'the' "now" present moment motion exists in space "is". Is not that the spatialization of time, shows that this term is a disconnected time.
It can be said that the history of art of the 20th century or later is a history has expanded the representation of space in the dimension of time. For example that is up no trace of Jackson Pollock's abstract expressionist paintings with action painting of his time. Its time in organic actual time herein.
But Kariya exhibition space represents from time of time in reverse. Kariya's seed Sutra shows first traces of life in his daily.
His “the now is” written each day a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles.
In this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written.
Occasionally include the famous people in those photos cut out from the New York Times that, at a glance, but is most unknown person, and the whole face was cleared of a huge flock.
In the human self face to ensure the identity of one of littleness to seed and anonymous that is transformed to a collection of materials.