Three estranged sisters are preparing themselves to meet up after a long absence from each other. They all have emotional baggage from their past and suppressed emotions come to surface, which manifest in their own personal ways.
On our island
On our island
During the Second World War, Mr. Nishigano was stationed in Tinian, one of the South Pacific islands. He was in charge of anti-aircraft artillery. The enemy arrived on his island only after the war ended. 94 year-old Mr. Nishigano recalls what it was like to survive in the island with his fellow soldiers, where there was no grass growing in the 40 degrees heat. https://vimeo.com/268370817
2016 total duration 9min.
Emily sits in front of the camera against the white brick wall. Her hair, make-up and choice of clothing are all neatly put, adding her somewhat a likable appearance. She starts to tell a story about her circle of housewife friends. The projected images rise to the surface of the wall behind her, which seem to be inside of a mysteriously dark, run down house. The light and sound change in a disruptive manner. As Emily gets carried away by her own monologues, the ominous atmosphere escalates and her story began to sound deceptive and unreliable. Gradually, she shows her true colors. https://vimeo.com/159611517
3 channel video, original duration 20min. 2012 Inspired by the art critic John Berger's essay 'Seker Ahmet and the forest' (1979), the work deals with the subject of memory. The structure of the film is episodic, each scene is repeatedly interrupted by another in a disorienting manner. It explores a notion of fragmented narrative within a cinematic context. Relating to the issue of 'the building of the Burma-Siam railway' during WWII, the story mixes with reality and fiction, documents and illusions where past and present co-exist. The film consists of a sequence of different visual materials; a painting, drawings, archive photographs, scenes with actors and animals. These various textures are combined in the timeline, observed and interpret the subject, as well as questioning the sense of time and space.
2011 single screening original duration 06:22min. The work deals with a found picture album of during The Second Sino-Japanese War. The assemblage of what it seems as propaganda photographs tells very little about what has happened in the location of Wuhan, China around 1938. Rather, the images give a hint of young Japanese soldiers being in an excursion or field trip afar, posing proudly and having good times. Since it lacks written information and explanation of this souvenir like album, I tried to interpret by visually investigating the photographs. Over the decades passing, some of them are faded, torn, went moldy, disappeared, and even mysteriously ripped off from the album itself. Rearranging the sequence, cropping the size, blowing up, cutting or moving, I added the sound of sketch drawing as in tracing and studying the images. Instead of looking at the pictures as factual registration, I treat this album as a personal object and my intention is to de-packaging it .
2010HD single screening, original duration 06:27min. The word game; ` Fortunately, Unfortunately` is used as the main narration of this work. It tells a story of a man who lives with a pet bird in his studio apartment. From the bird`s point of view, the voice over describes the details of the man`s routine in his life. Along with the mechanical narration, we see the picture cards of everyday objects one after another. They are all embossed, manipulated in scale and have the disposable look. Each object, though seemingly mundane, begins to take on a more sinister and darker meaning as the man’s daily routine slips into a slothful existence brought on by his own uncontrollable excesses. This piece expresses the fears that through our own consumption our objects eventually own us, as they become stopgaps for what is lacking in our lives.
It consists of a video footage of a socializing event for people and their dogs in the central park in New York City. The event for the people and their dogs include activities such as the Best in Park dog show, games, contests, and agility tests, etc. The voice over is not directly related to the event itself, but written based on a conversation between two artists dealing with photography. The artists have photographed hunting scene, and they are looking at their pictures of dead animals. The work deals with issues such as the relationship between man and animal, our industrialized world surrounded by animal imagery and urban domestication of our pets.
Supported by Bunkacho Japanese overseas research study program for artists
This work consists of a video projection, a loop in monitor and drawings/collage. It's an experiment on viewer perception of different given visual scenes within the cinematic context. Dealing with memory and information, the work questions about the nature of storytelling that change interpretations with passage of time. Using documentary structure, the projected narration (total duration 17min.) shifts from personal story telling, discussion on speculating our future and act of memorizing. Here in the extract, you see a young student trying to recite what he has memorized in front of the camera. Distracted by the background music playing on the radio, he is uneasy and the scene becomes other than what was expected.
It is a conversation-piece as in a family portrait in video. Participants are linked by an activity, in this case having a sukiyaki party. The camera is focused on their hand movements while we hear their intimate conversations. They gossip about those characters who appear on the television screen. This work is about “otherness” in relation to the question of one’s identity. My intention was to play with the verbal and visual codes we use in our understanding and eventually to deconstruct an image of “other people”.
2004 Installation woodwork with hand made paper 150cm x 200cm/ video/ drawings
The theme of this work is ‘identity of the traveler’. I see the traveler as an unsettling and inversive existence, where the process of “I become another” is the constant experience. I have realized that traveling is more of an act of experience rather than understanding. It is an experience which not only stimulates the external self but to a large extent the inner self as well, as it eventually leads to questioning of one’s identity and the reason for its nomadic nature. Travelling through India by trains and state buses, there were many occasions that I found myself acting strange, incomprehensive and even absurd, which I believe was experiential in its own right. I suppose the works I present here reflect my thoughts and ideas during the course of my stay in India.
A paravan (screen) has different functions such as divider, decoration, or to create an extra space. I like to connect the idea of flexibility and mobility with the symbolic value of journey. One side of the screen includes 9 Indian languages stating “Repeat after me”. They are hand written on the patches of different papers such as banana leaf, rose flower, currency, stone wash and silk. On the other side has the same sentence in English printed out from the computer. The whole structure is foldable into a compact square size of 50cm x 50cm.
Supported by Mondiraan Foundation and Japan Foundation
This video loop is about my interpretation of time and timelessness through traveling. I have visited several different places of worship where people put their time and effort to create something everlasting. The speed of the images in the video is modified in which I intend to emphasize the notion of moving and standstills.
Installationprojection on loop
A soldier is told to do a simple exercise, while his own multiple images appear in the form of the projection. He is alone in the studio in the dark. He gradually becomes confused and paranoid.
Under the guidance of artist Joroslaw Kozlowski, 16 artists from Rijksakademie ( 11 different nationalities) stayed for 10 days in the village SKOKI, in Poland. Supposedly making art, we discuss our works, the art world and share everyday life. Far away from the art scene, we openly talk about the art world that we are all connected to. This documentation is not meant to be objective, it is edited from the perspective of the maker. “We are talking about position in art, attitude in art. When we discuss your work in your studios, we talk about specific things. Trying to talk about structure of the work, significance, importance and meanings of the work. And very little, we are touching the notion of attitude. The attitude which is always behind the work, which is very much hidden and not discussed.” -J. Kozlowski