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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

 | PHOTO+MULTI MEDIA | 24 Units | 133"x88" |  2019- |
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 | Collage on Seed | From Daily News Crippings | Since 1995 |
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| TWIN CODE | 双生記 |

 | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 |
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 Hiroshi Kariya, born in Japan in 1948, since arriving in the United States in 1977, has continued to practice and study archetypes in the exploration and verification of Self-Archaeological Art forms and production dialectics. The archetype of his expression is the traces of his own work, thoughts, corrections, and so on.

 

 The above photographic work "TWIN CODE" is a work that overlaps the existing image with the "face of time" as archetype evidence of the photographic record exhibited at the NY Armory Show in 2019. The new surface that was pasted has a back watermark reference act that reveals the footprints of the previous work due to the photographic record. The work traces are simulated to the excavation activity of the archaeological site to demonstrate the intentional comparison. They present considerations of holographic virtual reality on the surface where the 'current sutra' description presents 'non-temporality' remains.

 

 Kariya, who is a twin, fuses the Kotodama of Soseiki:Genesis with the Kotodama of Soseiki:Twin Code and explains it. He says that on one side of the visible, there is a vast amount of dynamic presence that is invisible and immortal.

 

 The image is a mirror, bilaterally symmetrical, the left side shows the image of the right side, the front side shows the existence of the reverse side, and the whole image implies a mental image. Imaginary images are non-spatio-temporal, non-physical, and ever-changing, frequencies.

 

 He himself continues to write the three letters "THE" is now. 'NOW' is the present, 'IS' is the face, 'THE' is all beings, including human beings, who call and distinguish between good and evil. Existence does not disappear or appear, there is only the experience of consciousness that chooses.

 

 In other words, writing down the three characters is to continue to explain everything else, and if you choose to do so, it is a creative act that continues endlessly. If he chooses, let him experience the immortality of materiality that evokes the dialectics of his production. He said that he was painting a realist painting of that landscape.

 

 Kariya uses images from the news media and refers to his own work as “Journal Painting" or “Journal Sculpture." It is used as evidence of social activity, a reference to materiality to time code. They also serve as his own archaeological evidence, proof of the source's roots. (→Return to image)

 

 "What is the purpose of your work?" First of all, it is a message to myself every morning. Enjoy life. Compassion for oneself, who is a physical being, and compassion for other alter ego at the same time. Meditating each meditating one. It is to keep learning as if.

 (OSDLM; One Stroke Dotted Line Mizuma, M also stands for Mind, Mirror, Miracle, Mother, Myriad, Maze, and More.)

 

 The series of works is currently in progress. The images are literally endless. A mirror reflects what your mind sees. There, the physical self does not see the void, but sees the impermanence of "that" present moment.

 

 *This art form is experimented with in his solo exhibition "Sutra" at ICA Philadelphia, 1990, on Ilya Kabakov's wall. → Sozansky articles

 

 刈谷博、1948年日本生まれは、1977年アメリカに到着以来、*自己考古学芸術の形式、制作弁証法の開拓と検証作業にその元型を実践・体験し学び続ける。自らの生きる作業の痕跡、思考、修正などの記録を表現の元型とする。

 

 上記写真作品「TWIN CODE=双生記」は、2019年NYアーモリーショウで展示された「OSDLM:母」写真記録を元型証拠とした既存イメージに「時の顔」を上乗せした作品である。新表面は写真記録に因って前作の足跡を露呈する裏透かし参照行為が残されている。作業痕跡を考古学サイトの掘削活動に擬似化し意図的比較を明示する。それらは「非時間性」を実践する「是現在経」記述が残存する表面に、ホログラフィックな仮想現実の考察を展開する。

 

 刈谷は双生児で創世記に双生記の言霊を融合させ解説する。見える一面の片方には見えることのない不滅の膨大な量のダイナミックな存在があるのだと云う。そして、これら一切が自作自演行為であることを自覚するまで続くのだ。

 

 画像は鏡、左右対称、左側が右側の画像を、表面が裏側の存在を示し、画像全体が心象を暗示する。心象とは非時空間、非物質性、変化存在しつづける波動に因って元々の自由勝手なイメージが気ままに飛び交うのだ。

  自身は絶えることなく"「the」 is now" 三文字を記述しつづける。「それ」は今現在である、「それ」は顔である、「それ」は善と悪を呼称し区別する人間、自己を含む全存在である。存在は、消えるとか現れるということではなく、選択する意識の体験のみが存在するのだ、と自身の煩悩に云いつづける。

 

 三文字を書き記すことは、それ以外のありとあらゆることを説明しつづけることであり、それを選ぶことである、作業引き起こしが延々とつづく制作行為である。さらに選ぶなら、その制作の弁証法を引き起こし物質性の不滅を体験させる。自分はその風景描写のリアリズム絵画を描いているだけなのだ。

 

 刈谷は、ニュース媒体のイメージを使用し、自身の作品を「報道絵画」または「報道彫刻」と呼称する。それは、社会活動の証拠、時間コードへの物質性への参照に用いられる。それらは同時に、自身の考古学的な証拠、ソースのルートを裏付けする証拠として機能する。  (→画像に戻る)

 その目的は何か?それは、毎朝の自己へのメッセージである。生の営みを楽しむこと。物性存在である己を慈しみ、同時分身の他を慈しむこと。ひとつを瞑想しているそれぞれを瞑想すること。学び、その先に行くことである。

 (OSDLM;One Piece Dotted Line Mizuma、 M は, Mizuma Art Gallery, Mind=心, Mirror=鏡, Miracle=奇跡, Mother=母, Myriad=無数, Maze=驚, and More)

 

 一連の作品は現在進行形である。イメージは文字通り終わりがない。鏡は自分の心が見るものを反映する。そこに自分自身は虚空を見るには至らず、無常の「その」今現在を経験しつづける。

 

  *この自己考古学芸術形式はICA Philadelphiaにおける個展「スートラ」1990年にて、イリヤ・カバコフの壁で検証実験された。→ソザンスキー表論文

F4TwinL(Detail)
F4TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
F3TwinL(Detail)
F3TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
E4TwinL(Detail)
E4TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
E3TwinL(Detail)
E3TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
D4TwinL(Detail)
D4TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
D3TwinL(Detail)
D3TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
C4TwinL(Detail)
C4TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
C3TwinL(Detail)
C3TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
B4TwinL(Detail)
B4TwinL(Detail)

The source of image: collaged "Face of Times" adopted from the daily news clippings, each numbered behind, pasted on plexiglass with vinyl resin. The most of the data is saved for another related works. Mixed media. Unit: 22"x22"x1.5" Year: 1995~2018 (Availability: by appointment reservation)

press to zoom
 
 

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