Rui Sasaki...The interest of my work is the exploration of intimacy between my body and a space where I am. Nothing is a space itself for me if a space does not contain any connections to me, using my olfactory, visual, auditory, somatosensory, and gustatory senses. The first time I enter a space, I always use these senses to identify whether I am in the safe or the dangerous in a space. Moreover, I feel extremely unconformable and unbelievable (even feel ill towards a space) if a space does not give me subtle intimacy: “Object” or “Space” is just as it is and it cannot talk with me. I am just floating in a space...
Stephen Cartwright...In settled life I don’t experience the world in the same way, it is too easy to keep yourself comfortable and easy to disregard the cycles of the natural world like the length of the day and changing seasons. The rhythm, repetition and pace of riding allows my thoughts to drift from the pressing matters that lie ahead to less tangible introspections. While riding sometimes I dream of just being in a comfortable place where I know where I will sleep and what I will eat next. Most thoughts are influenced by the immediate conditions of landscape,weather and fatigue but, when I am totally immersed in the ride I can dream of slipping into the world and rejoining the natural systems we find it so easy to overlook...
Michael Collins I’m creating new hybrids which revisit the utopic vision of
the founders of the portable dwelling, exploring how we benefit as a society
from the ability to change our location, yet maintain a certain level of
stability. I’m creating experimental modes of transportation which seek to
explore the potential for new experiences, and the establishment of a set of
leisure practices. At many moments in our history people have sought to enhance
their experience of leisure by combining activities and creating their own
realities, oftentimes a mode of transportation was employed, and the experience
of movement through space became the goal. Something as common as listening to
music in an automobile at one time had to be revolutionary, pioneering the way
towards a shared experience that would relate to our cultural identity.
Liliya Lifanova Like painting, drawing, and mathematics, playing chess shuts
down the left side of the brain, leading the player to become almost unaware of
chronological time. In a chess match, therefore, the player is able to
represent "the fourth dimension" in which, via manipulation of mere
matter, notions of time and space are removed, resulting in the "now you
see/hear it, now you don't" quality of time-based works. When a practiced
player is engaged in chess, decisions are made based on relations and the
possibilities contained within such relationships, enabling the player to reach
the state of "no mind" or "Buddha mind".
Motoko furuhashi My current work highlights the stress between the geometry of manmade objects and damages created through urban decay. Each obstruction is an unwelcome presence that is disruptive to the ecology of an artificial environment. In challenging the perfectionist ideals that urban environments represent; my use of site-specific art as a medium expands the conceptual meaning and purpose of the object, giving me the freedom to play with the audience’s perception of time and location. This operates on the premise that objects do not exist without perception.
Masako Onodera I present grotesque, and peculiar, but oddly appealing
simulated body parts of appendages, representing rampant, uncontrolled growth
and decay. They are both sensual and strange, and suggest an experience of the
body that is altered by the tactile and visual characteristics of the
object....When my work is not on the body, it is merely a self-contained object
and seduces a viewer’s curiosity with its peculiar and unconsciously familiar
form. When it is on the body, it doesn’t decorate the wearer to show one’s
status, but identifies the wearer as a living human being.
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