I cut out objects ” such as people, vehicles, buildings and so on ” from a snapshot or magazine and stand them up, like a pop-out book. I aimed to emphasize the scale differences of the object when it’s in a photo “two-dimensions” and when it gets cut out and set up into “three-dimensions”. The audience will realize how they have been unconsciously controlling the way they perceive the scale and the perspective in the two-dimensional photos. They can then understand the relationship between the work they are viewing and the room in which they are standing, with refined cognition.
I also photograph these installations, so that I can clarify the meaning of the set-up photos.
The main activity from 2000 to 2007
2007 their site/your sight (since 2000)
2005 Multiple Choice
Since I used magazines as a motif in my work in 2003, I had been looking for a chance to make a ‘scattered magazine’ installation. In 2005, I realized my idea at a gallery called ‘Multiple-choice’, which was a converted old house. Multiple-choice had white walls and a wooden floor. And their old wooden window frames gave the gallery a slightly ordinary atmosphere. I put a carpet on the floor to decorate the gallery and make it appear as if someone is living there.
There were magazines scattered everywhere in the gallery and it looked like just a messy room. But when you looked carefully into each of the piles, you would find the people in the magazines are cut out and set up, posed and almost starting to move.
In our everyday life, we read a magazine by holding it and looking at its contents, such as photos of models or landscapes. This bodily movement helps us sense the differences in scale of the photos.
There is a huge amount of information in the layered pages of a magazine. After I cut out an object, there is a hole left in the page and you will see the image or text in the page beneath. The hole looks like a shadow of the cut-out object. In this way, I have not only managed to emphasize the physical structure of a magazine, but also represent it as an icon of ‘information’.
By letting magazines perform as icons of ‘information’, this work successfully establishes the relationship between ‘our visual perception’ and ‘information’ in modern society. The work continued at Kawasaki City Museum in 2006 and other galleries.
2005 ENTANGSOGADE 4 UDSTILLING
I had an opportunity to stay, work and hold my solo-exhibition at an artist-run space called ‘EN TANGSOGADE 4 UDSTILLING’ in Denmark, in 2005. I started my project by making an installation with snapshots. I brought photos from Japan, which were taken by myself and by others upon request, and cut them out and set them up in the gallery.
My concept was to cut out and set up the objects, such as people, vehicles, animals or signs, all which exist in the space of Japan, in the gallery space in Denmark so as to create a totally new landscape. I intended the installation to work as a gift I brought from Japan, for the audiences in Denmark.
I also intended to introduce the Japanese way of taking snapshots, which are a part of our culture. Densely arranged photos represent how we live in a society that is full of information and visual images.
2003 a drive with him
Since I started this project, I have been taking photographs in order to combine a cut-out motif and landscape, so that I can reconstruct the relationship between the two.
I planned this project when I was specially focusing on making works of art while on journeys rather than at my studio. I cut out and set up a vehicle called ‘Tuk Tuk’ from a postcard that a friend sent me from Bangkok.
Then I created a fictional-documentary series of photos by imagining driving Tuk Tuk inside and around my house, and also where I travel.
This project was developed at the town “NAGOYA PORT”
The way of this, At the 1st, the artist took the pictures of the trees which were in front of the shop, and It was made to the “pop-up” cards. And then, The cards were taken the picture again, in the shops. At the last, The works were set up in the shops.