Mizuno Marie

In my work, I first create a screen using digital collages using city scenery and details taken with a smartphone as materials. The created screens are incorporated into textiles to create sculptural works.

Photos taken with smartphones are not symbolic motifs limited to a specific country or location, and focus on capturing unremarkable details that are often overlooked in everyday life.
We collect not particularly beautiful landscapes, such as electric wires, piping, ducts, and planters with unlimited grass that can grow anywhere in the city, but scenes with a sense of déjà vu where people can see the progress of people's lives and time with smartphones, which are familiar tools.

We will use digital collages to reconstruct photographs of different times and places that we have taken every day into a single flat landscape. The reason for digital collages is that by cutting out photographs (facts) raw and reconstructing them, it is possible to create “landscapes that actually exist but are not real” that share the same space and time that are factual and unfactual.
“Scenery that actually exists but isn't real” exists like a memory, is a landscape that everyone knows and doesn't know, close and far, where nostalgia and newness coexist, and I think it is inherent in everyone.

The screen is transferred to cloth, and the scenery of the outside world is made into product modeling that exists indoors, such as interiors, clothes, etc., and clothing, etc., and the outside scenery is captured around us.

Bring the outside world inside.
I have blurred the boundary between the outside world and the inside, and I am keenly aware that the world is flat.