BIG WORDS
It is said that my work sometimes appears to be a deliberate feigning of indifference to the methods of art. However, I am not aiming for that, nor am I trying to escape from the orthodoxy of the method. In other words, I am not interested in the promises of art, which until now have been treated as the royal road to art. What I mean by the promise of art here is not only “technique” in the superficial sense or “hermeneutics in art criticism,” but also a system of manners that blindly adheres to a standpoint that art must have in order to be art.
For viewers who see art only as a “beauty” artifact, or who only try to have such a view, the balance of factors in my works may seem to stand on the periphery because they are not inclined to the promises of art. On the other hand, even if my expression is within the “manner of art,” it is only when it is centered on the keyword of interpretation that follows.
At the origin of expression, there must have been a motive to clarify the relationship between the “other” being expressed and the “I” who expresses. This motive has been enlarged by various arbitrary forces of attraction, resulting in today's art system. Art within art, neutered by the stubborn father of art history, now appears to be self-deprecating due to its inclusiveness, while outsider art such as the Oedipus complex seems to have no intention of shedding its label of selfish behavior, perhaps out of a sense of relief from the outside. However, I do not think that the act of expression itself has abandoned the relationship between “I” and “others.
However, the relationship between “I” and “others” today has disintegrated in the air or collapsed internally. One of the reasons for this is that we have unconsciously experienced the sterility of the discussions that have been held in the past, and we can only survive in an atmosphere in which our sense of reality has been diluted.
The expression I present is composed of three important points: to be faithful to my original motivation, to be in line with my current reality, and above all, to be aware of what kind of derivative effect the expression can have on others. Without them, even if we think we have found some means of expression, we will easily lose sight of the axis of our relationship with “others” in the face of such a tenuous reality, if we use only comforting means of expression that diverge from the “I”.