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.

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　(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