The production of "The HEAD SERIES" began in about 1988. Nowadays, it is the life work to continue the production every day.
I think that the my art style becomes the fine arts expression of this century end. Because future art after 100 years, I think that to stop expression it in "The THING" like the present day certainly. It is controlled in a thing like such an obsession, and I am continuing the work production.
Observe so on deeply and it is copied, the people whom I knows, involves the animals and the plants. And put those various meanings to construct again, and it is being continued to express it in Surrealistic.
Publish the late work of the series with the concept in this page.
There is the past work in the series with the concept in this page.
Introduce the work of the production from July, 2011 by December, 2013.
dimension : 490X465X580 mm
production date : November 2015
This is an art piece I created based on the percussionist, Yas-Kaz Sato, who I hold in high esteem.
When I listen to his music, I imagine myself roaming in a tropical jungle. In a wet jungle, enveloped in misty rain, I am dripping wet. The image is derived from the sounds he creates, along with the folk instruments he plays from all over the world, such as Bali, Vietnam, Thailand, Sri Lanka, Africa and Northern Europe. The sound of those instruments are exotic, primitive and ethnic.
Mr. Sato created and performed the stage music for Sankaijuku, a Butoh dance group, and many other performers, and adds his unique music expressions to many films. Unlike Western lyric melodies, his music develops in a very calculated yet improvisational way, which makes me conscious of my Asian descent. Furthermore, it appeals to the deepest of human senses, and awakens the naked self, relieved of layers of civilization.
His sounds shower down and collect on large and small leaves, allowing the trickling droplets to melt one’s body. Before long, the dissolved body is overcome by the sensation that it merges with the earth. Perhaps the vibrational waves of sound stir cells in our bodies previously unknown to us.
dimension : 230X310X520 mm
production date : April 2014
I first met her at a party in an indoor ski slope when we were university students. She waddled about and acted spoiled, insisting she could not do this or that.
When I met her for the second time, she had completed her study abroad at Liszt Academy, after having graduated from Tokyo University of the Arts. She was the foremost female pianist in Japan with respect to playing Liszt.
From the moment I listened to her performance in earnest, I became a fan and started to attend her recitals and concerts. She also came to my exhibitions often. We eventually lost contact with each other, however, as we both moved.
When we finally reached our third reunion, she was married and had a little boy. She had been brought up like a princess, but the hardships she experienced in the performance music world, intertwined with the blessings of a good husband and young son, had over time transformed her from a spoiled girl to a mature and excellent pianist.
Becoming a mother mellowed her. Having a son has influenced her music in such a way that the challenging tone of her music during the period after her overseas study has evolved into a tender and loving musical expression. On stage, she has become a woman with a gentle tone who talks about various music experiences. Her life work, “Concerts for Moms and Kids”, invites babies and toddlers to music concerts, which is considered a taboo for most concert piano performances. She also takes great personal effort to support recitals for pregnant women and prenatal training.
She asserts, “I am not a musician but an athlete.” She does strength training in addition to piano practice, and as a result her figure has not changed since her 20’s, nor has her posture altered as she plays the piano.
For some time now, I have been inclined to express her lithe and muscular back in my art work.
dimension : 230X310X520 mm
production date : April 2014
My professor, leaning on his cane, came to my exhibition for the first time in 20 years. As he opened the gallery door, he said, “Who are you?!”
I assumed he would not attend exhibitions such as mine, so his sudden visit was a surprise and a thrill. Yet those were his first words. Rather disappointing, but my existence in Tokyo University of the Arts [formerly Tokyo National University of Fine Arts and Music] was probably something to that degree.
My professor was the founder of the metal sculpture course at the University. Together with clay figures, stone carving and wood sculpture, it is a course that incorporates material expression. Despite initiating such a relevant course, the University gave him the cold shoulder, and many students complained about it at the time. The professor did not care to join any factions within the Japanese art world, or be bound by conventions, subsequently living a life of freedom and creation, but that meant imposing honorable poverty upon himself.
My professor studied during a major turning point for sculpture courses at Tokyo University of the Arts, and achieved a mastery level of metal sculpture, a new expression and uncommon in those days. He educated many sculptors, proclaiming his slogan as “Bankara” - rough and unpolished, but tough and dignified. After reaching the age of seventy-eight, he suffered a serious illness and is no longer able to create sculpture to his satisfaction, so he spends his days painting among his many works at his studio in Chiba.
When I expressed my wish to create his face in metal sculpture, he readily agreed. On the day of the interview, despite the cold weather and sprinkling snow, he came all the way to the train station to greet me. The image of him standing with his cane at his full height as he waited for me stands out in my memory.
dimension : 250X290X540 mm
production date : November 2013
Harumi established a foundation organization that offers emotional and material support globally for neglected children and orphans of war and disasters, by commercializing children’s drawings through business enterprises. With swiftness of judgement and an extraordinary ability to take action, she developed it into a small but well known nonprofit organization (NPO). Without physical or mental rest, she flies around the world driven by her passion.
Her powerful personality causes misunderstandings at times. The firmer she believes in her mission, the more friction that gets created against her surroundings, and her aspirations can burst in the air. Her frankness pierces many, yet her actions save multitudes as well.
The silhouette of her back portrays the difficulty of gaining third party understanding for idealism and personal calling. However, paying no attention to others’ speculation and criticism, she charges ahead into her idealistic world, empowered by zeal and a sense of mission. It seems as if she is driven by compulsion.
Watching her, I wonder if history is made this way. People are moved by various strong passions, which in turn creates history. From a time when children’s pictures were discussed only in child psychoanalysis, she has worked hard for a quarter of a century to utilize it as the power to change the world, and has drawn people’s attention to the potential power of children’s drawings. In this way, her inner compulsion has opened the door of history.
dimension : 220x220x540 mm
production date : June 2013
He is a gifted drummer. The innovative and abstract sounds played by an experimental rock band “Battles” can rumble like discordant noise, but in truth the sound contains a good, warm old-world feel. Despite expanding popularity worldwide, the Battles remain modest, and their attitude towards music is humble and human.
I became fascinated by his drumming because of his approach to it on stage, not to mention the music itself. Before he starts playing, he always places both drum sticks vertically on the snare drum, bows his head and seemingly concentrates his spirit. It is much like a monk who is praying, or a martial artist focusing his mind. The “prayer” held at the beginning of his every performance cannot be seen unless one looks closely from the stage wings or from a grandstand on the second floor.
However, once he starts drumming, he transforms into a mad puppet manipulated by something surreal, and his superhuman drumming speed pours a flood of sound over the audience. The 32-beat that his drum pulses out sustains the base of the performance from beginning to end. As he finishes his performance and comes down from the stage, he leaves footprints soaked with sweat, just as a man overboard would drip his way through a ship gallery after rescue.
dimension : 200x220x490 mm
production date : April 2012
When I was thirteen years old, I read an essay in my Japanese textbook entitled “Mask and Persona,” by philosopher Tetsuro Watsuji. It left a deep impression on me, and since then I began to develop the concept that everything in the universe consists of a dual structure - the truth and the reality that covers it. This theme is at the heart of my body of work.
At the same time, I also became interested in Hamlet’s famous line, “to be or not to be….” which was in my English textbook. Hamlet’s vengeance and melancholy gives us a glimpse into human nature. The concept of duality from “Mask and Persona” combined with Hamlet’s conflicted personality lead to the creation of this work.
This piece is in a two part embedded structure, combining the skull-shaped artwork from “Living Flower” which is fitted inside an outer head. I used the soliloquy from “Hamlet,” where Hamlet talks cynically about “life” and “death” as he holds a skull, as the source of inspiration.
When the face is lifted, a skull can be seen beneath it. The skull can be pulled out, allowing it to become a vase in which to arrange flowers.