Tabula Rasa

“Tabula Rasa” (2023) is a work showing the primitive value of humanity and the way of life. Civilizations have arisen all over the world, and just as there were languages, lifestyle, and art in common wherever they were, I believe that humanity, which now has many boundaries, also has common values. If those values can be reflected in the work, all boundaries will be dispelled, and all viewers will be able to feel the pure beauty of the work. Then I thought that the work, I (the artist), and the viewer could be connected to each other in a flat manner.

In this work, by dyeing thread using soil, I further explicitly added the meaning of the indigenous nature of human activities to cloth, which itself is a material closely related to our lives. Then, by intersecting these threads as a weave and modeling and expressing them as a single object, they tried to explore beauty with primitive strength common to people or their activities. This time, I'm using only soil from Kanazawa city, and this is because I wanted to expand this project from my own personal environment. With the cooperation of the social welfare corporation Kibogaoka in Koike-cho, Kanazawa-shi, I used red clay from a hole that was originally used as a chamber for sweet potatoes.

By using an organizational structure as an intersecting technology, overlapping modeling becomes more complicated and layered. This is an expression of the complex and intricate environment and structure of modern society. On the other hand, in the overall modeling expression, I searched for a form that emphasizes the beauty of the organic lines of the thread. This is an experiment aimed at expressing doubts about sexual exploitation due to seeing and being seen using one's own body as a motif, and reviewing one's own sexuality by changing one's own feelings due to words spoken by viewers. The fact that the thread is dyed using red clay is also intended to give a physical impression.