Concept

The mainspring of my work is derived from the death of my sister from brain cancer at the age of 24 in the winter of 1994.
Since then, I have had the dilemma, in grief and surprise, of thinking about what I had and lost. I started making art works that reflected such feelings and continue it as if I were writing a diary.
Many of my works take the form of labyrinths with complicated patterns, ruined and abandoned staircases or too narrow life-size tunnels, and all these works are made with salt.
A common perception towards them is "nearly reachable, yet not quite" or "nearly conceivable, yet not quite".
Memories seem to change and vanish as time goes by. However, what I sought for was the way in which I could touch a precious moment in my memories which cannot be attainable through pictures or writings.

 
 
   
  Reasons for using salt

Salt seems to possess a close relation with human life beyond time and space. Moreover, especially in Japan, it is indispensable in the death culture. After my sister's death, what I began to do in order to accept this reality was examine how death was dealt with in the present social realm. I posed several related themes for myself such as brain death or terminal medical care and picked related materials accordingly. I then came to choose salt as a material for my work. This was when I started to focus on death customs in Japan. In the beginning, I was interested in the fact that salt is used in funerals or in its subtle transparency. But gradually I came to a point where the salt in my work might have been a part of some creature and supported their lives. Now I believe that salt enfolds the メmemory of livesモ. I have thus had a special feeling since I started using it as a material.


 
   
 
 
   
  About Labyrinth

Drawing a labyrinth with salt is like following a trace of my memory. Memories seem to change and vanish as time goes by. However, what I sought for was the way in which I could touch a precious moment in my memories which cannot be attained through pictures or writings. What I look for at the end of the act of drawing could be a feeling of touching a precious memory. During the course of drawing, I cannot tell it if will reach the essential point till its very end because lines are curved or cut against my intention. It depends not only on my psychological or physical condition, but also on the condition of the floor or the level of humidity. I always silently follow the trace, that is controlled as well as uncontrolled from the start point after I have completed it.


 
   
 
 
   
  Recalling the dead branch  -paintings-

We feel sorrow and despair when someone close to us passes away we realize that we can not speak again. I have felt this kind of loss but it can be lessened by the memories that remain. The process of my work involves determining the distance between those memories and myself. The work is invested with this intent through my hand, as the dead branch which, picked up along the way is confined in wax and then plastic. Death, symbolized by the branch, is transferred into the work through this action. It can be that I recognize death through the completion of the work.