recyclable printing / 770 x 550 mm / screen print on paper / 1995 / Ed.100 




THE TIMES (95-4-1) / 770 x 550 mm / screen print on paper / 1995 / Ed.10 

”This is the front page of The Times the day after the 1995 Kobe Earthquake. Except for the barcode, it's full of sadness.”





no smoking / 770 x 550 mm / screen print on paper / 1995 / Ed.10




 Marlboro (95-3-1) / 770 x 550 mm / screen print on paper / 1995 / Ed.10 




  man & woman / 770 x 550 mm / screen print on paper / 1995 / Ed.10




a person sitting in a wheelchair / 770 x 550 mm / screen print on paper / 1995 / Ed.10




Coke 95/ 1100 x 770 mm / screen print on paper / 1995 / Ed.5



Coke 95-2 / 1100 x 770 mm / screen print on paper / 1995 / Ed.5




Coke 95-3 / 800 x  600 x 25 mm / screen print on acrylic sheet, cans, frame / 1995 



MIND THE GAP / 1100 x 770 mm / photographs on paper / 1995 





MIND THE GAP 2 / 1100 x 770 mm / photographs on paper / 1995 






MIND THE GAP 3 / dimensions valuable  / collagraph, screen print on paper / 1995 

untitled / installation at show windows , Central St. Martins College / 1996


 










    　  　






MA Degree show installation at Central St. Martins College 1996

my obsessions / 1100 x 770 mm / screen print on paper / 1996


my obessions / post cards / 1996



untitled (from "my obsessions")/screen print on fabric, wood panels, mannequins, paint / 1996



untitled (from "my obsessions")/screen print on fabric, wood panels, 2000 x 4000 mm / 1996








untitled (from "my obsessions")/screen print on fabric, wood panels, mannequins, paint / 1500 x 6600 mm / 1996

 














London era 2



What I tried to do here was to make a copy of various signs,　advertisements, etc. in the city, without changing the color or shape at all.

So what I have changed was their context. Even with the same visual image, that is, the same sign, the meaning changes if the context changes. I wanted to change the meaning just by moving the image from the street to the context of art.

In a straightforward example, my work "man & woman" is a screen print of the exact toilet sign, but once in the context of art, it doesn't represent a toilet, it's gender. It will be a work that has the meaning of asking the problem of gender.

In this way, I copied the various road signs, public signs, and advertisements in the city as they were into screen printing works.

The Coca-Cola sign is a symbol of capitalism or commercialism, but what I wanted to do here was to imitate Andy Warhol, my number one hero at the time.

He himself asked what is originality, but I also learned from his concept and dared to ask what is originality, not a copy of his work itself, but his concept as an artist. I wanted to raise the issue again by copying it.

Humans are creatures that imitate. To imitate is to learn, and people form their own identity by making copies of various people.

Then is there no originality? People copy parts from various people, and the person "I" is determined by the combination of the copies.

Therefore, the human being “I” is made up of copies of the ideas of various people, but the combination is unique to me, and that is the uniqueness of the human being “I”.

Under this philosophy, I created my work to find out what my identity is.

And it's not an original supreme principle, it understands the history of art in the past and the sounds that are influenced by the works of various artists today. I copied the concept, not the work of my favorite artist. I wanted to ask what is originality.

Next to Andy Warhol, I copied Barbara Kruger and Jenny Holzer.

The "MIND THE GAP" series is the culmination of these works. By moving this sign from the subway platform into the context of art, I changed its meaning to "there is a gap between people. Be careful."

And I eliminated all the visual images and made a text-only work like Jenny Holzer.

However, the text is not what I thought, but rather a quote, that is, a copy, cut out, and transferred to another context, such as a text such as a display written in the city or in various places.

Combining them, I made one poem. That work was one of my goals, and this time I learned from Jenny Holzer again, printed the text on various media, and exhibited it as a work of art. That is my MA degree work at Central St. Martins College.

The next project was "Exhibition on the Train".

This time, on the contrary, it is an experiment to wonder what would happen if the work made as art was moved from the context of art to the street.

The street here was the subway.

I got the word "MIND THE GAP" from the subway that I use every day to go to school and made it an art work. This time I brought the art work I made to the subway.

The work imitated the style of Barbara Kruger's work, creating a work as if it were her work.

Putting the work on the street is exactly her concept.

By imitating her method, it is easy to imagine that this work would be criticized for lack of originality.

However, according to the philosophy mentioned above, no matter how much I imitate her, there is something that cannot be imitated, the subtle difference between her work and my work, and that is my uniqueness and originality. Isn't it?

With that in mind, I wanted to discover my uniqueness that I didn't understand yet, so I tried this work and project.

XYZM      2022










Everyone has his own god in his mind. / 1100 x 770 mm / screen print on paper / 1997 / Ed.8

 


Everyone has her own god in her mind. / 1100 x 770 mm / screen print on paper / 1997 / Ed.8




You must be free from your obsessions. / 1100 x 770 mm / screen print on paper / 1997 / Ed.8




I must be free from your obsessions. / 770 x1100 mm / screen print on paper / 1997 / Ed.8





I hurt her with my words. / 770 x 1100 mm / screen print on paper / 1997 / Ed.8





Love is not for sale. / 770 x 1100 mm / screen print on paper / 1997 / Ed.8






Hungry please help if you can. / 770 x 770 mm / screen print on paper / 1997 / Ed.8





To forget is to live. / 1100 x 770 mm / screen print on paper / 1997 / Ed.8









Exhibition on the Train 1997