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.
