Overlaying and scraping away What is revealed is what was always there Destruction as the primary act of creation
Even as a youth I felt there was something special about Hawaii. I visited many times all those years ago, as my family had business dealings on the islands. That was half a lifetime ago. As life goes, my path took me in other directions out of Japan and for many years I did not visit Hawaii. Over the years, I have built and rebuilt my artistic practice, but a few forms and themes have been repeating themselves along the way. I refer to these as "stamped by God," "sign," "proof," and "re-energizable." These are ideals I have identified and which I aspire to achieve through a process of cyclical amplification by methods I have developed over many years. Somewhat recently, I had a reason to visit Hawaii again—this time with an established practice behind me. Again, I felt that this place was unlike any other I have visited. There is a particular energy which I feel has something to do with the geological specifics of the place, but it is an energy which goes beyond the mere scientific. My interest in Hawaii has become two-fold. On one hand, I was drawn to the tangible, physical, and observable. On the other hand, I found a cosmic, spiritual and sublime energy. And not only have the two aspects become inseparable to me, but I found that they have been running through my practice all along. Much of my past work has dealt with circulation, subtraction, magnetic and vector fields and in this, I work in a process of apparent tangling. But within the 'tangle' is cycle of systematic layering and erosion (often by fire and acidic oxidation). Of course, I found a reflection of these aspects and processes of my work in the seismic and volcanic activity of Hawaii: it exists in the textures of lava flows, in the motion of magma (circulation, convection)—the dynamic equilibrium found in the mantle of our planet which shows itself to us humans so spectacularly in so few places on earth. And of course, this is central to Hawaiian spiritual belief. The recognition of these themes existing both in my practice and in Hawaiian physicality and spirituality has inspired this new body of work which I am showing first at the source of its inspiration on this occasion in Honolulu. The Japanese, like the Hawaiians, have a cultural/spiritual understanding of seismic activity, though perhaps the two have quite opposing views. And, as such, I began my research into Hawaiian beliefs. I came to the concept of "mana"—that form of energy and power. This new work I present, I feel, contains whatever "mana" I have been fortunate to receive throughout my life of visiting those places where it exists. I have done what I can to put that "mana" into this work and hope that it will be passed on to those who come to engage these works of mine.