Enomoto Daisuke

Artist concept
Due to the influence of the family environment I grew up in since I was young, I spent a long time reflecting alone, and I was particularly interested in “the significance of our existence in modern society,” and I repeatedly asked myself positive questions over and over again, and enjoyed that time. It was the most natural and natural time for me, and it was an important time.

When facing oneself alone, understanding has been tested by looking back at records and traces using paper media such as memos, graffiti, and pictures.
However, there is a limit to this method, and since it is impossible to escape subjective observation, I thought about gaining deeper understanding through relationships and expressions with others.

A huge amount of unclear, superficial information cannot be easily thrown away even if it is no longer needed, and it is stored up.
While looking at piles of paper that had nowhere to go, the thought “I have to use it for something and sublimate it” and the thought of “preparing brand new art materials and intentionally drawing or modeling according to the draft don't feel the essence”, combined with the thought that “I don't feel the essence of the planned movement of preparing new art materials and intentionally drawing or modeling according to the draft,” transformed into a movement that emphasizes contingency, where all trace paper I am attached to follows sensibility into a layer of recycled paper.

An unknown mass where organic curves and warmth, and an inorganic texture and coolness coexist, and it is impossible to draw a boundary between garbage, natural objects, or works.
As if it were a “paper layer” that embodies my thoughts up until now, and it expresses the tremendous accumulation of time, changes in mind, and life itself, it has transformed into a paper art showing a deep inner world and spirituality.

However, it was no longer possible to throw it away.
In order to once again discover the complicated meaning of existence, an experiment was carried out in which they were brought to various places regardless of whether they were indoors or outdoors, and wandered around searching for disposal places.

Even when I tried to blend in with the surrounding landscape, a strange sense of incongruity remained, and in addition to being able to layer on top of myself that was not well suited to society, I felt that there was a relationship with the significance of the existence of a material from the previous era called “paper.”

When exhibiting at a gallery or museum, the artist himself was also present, and as part of experiential art, it was possible to freely touch it and use it as a workshop material. Since it is OK even if the shape is broken or deformed in it, each individual is not important, and it is not treated as a work.

The “paper layer” of thought created by continuing to face oneself is wandered in search of abandoned places and brought to various places, and while accepting destruction and changes due to relationships with others, they question the significance of the existence of time, space, matter, life, and thought as a series of expressive acts.