YUUJI TAKAO

The endlessly expanding visual world of social networking sites such as YouTube and Instagram makes us feel as if another world exists on the screen. With the improvement of image generation technology, the function and authenticity of photographs to reflect reality as it is has disappeared, and the...

The endlessly expanding visual world of social networking sites such as YouTube and Instagram makes us feel as if another world exists on the screen. With the improvement of image generation technology, the function and authenticity of photographs to reflect reality as it is has disappeared, and the concept of photography has also changed. This is similar to the process of the progression of painting toward abstraction since the birth of photography. Today, with the birth of virtual currency and virtual space, the distance between reality and virtuality is disappearing, and there is a problem known as the simulation hypothesis or the holographic principle. This is the hypothesis that this world is a projected hologram, created in action. It is similar to the "Butterfly Dream" advocated by Confucius and the "Color is Emptiness, Emptiness is Color" of Zen Buddhism, which suggests that all things and phenomena in the world are insubstantial, and which were conveyed by thinkers in the past when computer technology did not yet exist and suitable words did not yet exist. In a capitalist society, where values are adjusted to the market and various things are regularly maintained, I felt that one way to create something new would be to add a certain kind of noise from the outside, and I came up with the idea of responding to images cut from the world of images, which can be called false images, with noise called errors. Human error refers to the unintended consequences of human actions. The reason why I defy printing technology and destroy what is completed as an image is because I felt autonomy and life in the dirtiness that is not regular. The work is made by transferring a sheet of enlarged photographic print onto canvas, and as the ink on the media dissolves, the perspective that existed in the photograph is lost and the work becomes flat. This process transforms the visual language of his transcriptions, and the image of the motif that emerges becomes representational. I have long thought that religious beliefs may have something to do with the lack of perspective in Japanese expression, and I am interested in the flatness of the picture plane, and I am working to abstract the way we perceive images today from the Japanese religious viewpoint of shifting perspectives of space and time.