Unseeing
Year: 2025
Material/Technique: Sound, Plastic
Size: 23 × 23 × 23 cm
Edition: Unique
Signed:Not Included
This artwork is available for purchase.
USD 428
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.





About the Work
- Year
- 2025
- Material/Technique
- Sound, Plastic
- Size
- 23 × 23 × 23 cm
- Edition
- Unique
- Signed
- Not Included
- Frame
- Not Included
- Work Certificate
- Included
- Distributor of artworks
- Yu Amemiya
- Ship-from Area
- Kanagawa Prefecture
- Days Until Dispatch
- Not Set
- Category
- Mixed Media
- Style
- Conceptual, Quiet, Minimalism, Philosophy / Vanitas, Outsider Art
Work Details
A perfectly clear transparency is impossible to see.
Sometimes the voice we direct toward the vast ocean
reverberates only within the confines of a cylindrical tank.
The top of this tank has its occipital region—responsible for vision—hollowed out,
replaced by cement made from stones gathered on the Odawara shore.
He persists in emitting a 1040 Hz sonar pulse (used for detecting fish)
throughout the expansive sea.
Yet nothing is visible, and the artificial mass prevents even the slightest buoyancy.
“Notice me,” he calls into the vast ocean,
though the sound echoes only inside his own tank.
Underwater, where sound travels five times faster than in air,
the transmitter continues to hope for “everyone” to respond—
like the early days of the internet,
when one believed that the whole world was connected,
and that someday, someone would hear.
But the world is, in fact, a nearly transparent,
15-centimeter-radius tank, sealed and unyielding.
No one can hear your voice
until you remove the artificially poured cement
and allow yourself to float free.
A perfectly clear transparency is impossible to see.
Sometimes the voice we direct toward the vast ocean
reverberates only within the confines of a cylindrical tank.
The top of this tank has its occipital region—responsible for vision—hollowed out,
replaced by cement made from stones gathered on the Odawara shore.
He persists in emitting a 1040 Hz sonar pulse (used for detecting fish)
throughout the expansive sea.
Yet nothing is visible, and the artificial mass prevents even the slightest buoyancy.
“Notice me,” he calls into the vast ocean,
though the sound echoes only inside his own tank.
Underwater, where sound travels five times faster than in air,
the transmitter continues to hope for “everyone” to respond—
like the early days of the internet,
when one believed that the whole world was connected,
and that someday, someone would hear.
But the world is, in fact, a nearly transparent,
15-centimeter-radius tank, sealed and unyielding.
No one can hear your voice
until you remove the artificially poured cement
and allow yourself to float free.
How to Buy
This artwork is available for purchase.
USD 428
Note: Prices are displayed as reference prices converted at the exchange rate. Payments are made in Japanese yen.
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Artist
immersive story creator
Amemiya Yuu is an Immersive Storywright who brings parallel world novels into real-world experiences.
Through "Immersive novels," he blends literature and ritual into festivals and relational art, blurring reality and imagination.
In 2014, he founded Silent it, Japan’s first silent disco brand.
In 2016, he launched Ozone LLC and the "Social Fes®" project envisioning a post-SDGs world.
His works include "Dance Furoya," "Mud Land Fest," and "KaMiNG SINGULARITY."
The Reiwa Yin-Yang Festival, "Kamakura Shikyousai," was nominated for the JACE Event Awards.
He has produced over 100 festivals, featured on major media like Nippon TV and TBS.
He also directs events, writes scripts, develops brands, designs spaces, writes novels, and DJs across Japan.
In 2020, he opened "NigeBar White Out" in Yokohama, closed it in 2025, founded "Ozone-sō," and held the solo exhibition "Arite, Nakereba."
He received an Honorable Mention in the Future Society Scenario Contest.
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新たな体験小説、映画、リレーショナルアート、未知なる体験機会、つくりたいもののアイディアはまだまだあり、資金があるだけ、延々と新しいものがつくれます。ご支援いただいたお金は今後の作品制作費のため、大切に使わせていただきます。