Hazy nonfiction＃60

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.

This work focuses on lace curtains and incorporates collages among the products that everyone knows in the room.

The screen has a sense of layering due to the texture of the lace and the dye applied.

Bring the outside world inside.

The boundary between the outside world and the inside has been blurred, and I am keenly aware that it is flat.

Digital collage and digital printing

Everyone has seen it, but it doesn't point to a specific location. It is a landscape that exists in reality and is abstracted in memory.

I create it with the thought that I might feel a sense of deja vu and nostalgia for “unsettling nonfiction” in everyday life.