The work is created by transferring a sheet of enlarged photographic print onto canvas. As the ink on the media dissolves, the perspective present in the photograph is lost, and the work becomes flat. This process transforms the visual language of his transcriptions, and the image of the motifs that emerge is represented. 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. In addition, this work is copied by applying a canvas over the actual object, like an oshikuma or a fishhook. Fishing has been practiced by samurai for training since ancient times, and a large catch was presented to the lord of the domain as fish rubbings, which were made to look like the "head of a vanquished enemy general". I think this is because the act of "Utsusuri" had a special meaning, such as "Gorei ni iru" (putting in the spirit of the deceased) and "Gorei shitaoshi" (transferring the spirit of the deceased). The work "Staircase and Woman" was also created through a ritualistic movement to transfer the world reflected in a photograph to the real world. The motif of stairs and women began with Edward Muybridge's "Woman Descending Stairs" in 1887, followed by Marcel Duchamp's "Nude Descending Stairs No. 2" in 1912, Gerhard Richter's "Emma. In 1966, Gerhard Richter's "Emma," a nude woman descending a staircase, and Yasumasa Morimura's "Me, alone, descending a staircase" were motifs used throughout the history of art. Since I am an artist who deals with photography, I chose this motif as a sticky note and as a challenge for the next generation.
