Tokyo Satellite was launched as a group exhibition of six artists from TOKYOTEN members. We developed this 'artistic motile body' to be a collegiums sort of group, which will be able to actively appeal messages to the
society through friendly competitions among the members. Tokyo Satellite welcomed one more member at the 2nd exhibition and held the 3rd exhibition under the theme of 'Tokyo-Universalism'. I myself have done rather experimental venture at this exhibition -- I worked on not only flat surface pieces but also one-sided framing
series and installations exploring visual-spatial interrelations with works of other members.

I presented three of 'one-sided framing works' from The Sound of White Series. When we take a look at the
historical contexts of framing art works, we notice that framing is deeply related to the transition in religious
outlook of humanity -- In centuries past, art works were ‘sanctified and solemnized’ by framing and
decorating, mostly with gold. However, framing has changed with times -- gradually frames were more
simplified, and even removed in modern ages. This implies that human concept of values has shifted to
'anthropocentric' or 'human-centered' perspective. I personally have sympathetic resonance with Shinran’s
thought, 'Hizou Hizoku', meaning 'neither priest nor layperson', and wish to express my respect to divinity,
with one side of the painting (framed), and my positive outlook to humanity with the other side (not framed).
By doing this, 'divinity' and 'humanity' can be in contraposition to each other, and this enables the painting to concretely express my fundamental theme.

I tried to present various essences from the Sound of White Series in pieces at the second floor of Gallery Kubota Annex, a rather awkward space to display art works. I presented the components of circles, squares, contingencies and frames in pieces. By breaking down those components in pieces, each has turned out to be more simple and straightforward.

At the exhibition, six members worked on a 'shared assignment' titled Tsumugu -Weaving-. Working on this project, I presented a collage work featuring the six artists. I integrated their idioms by implementing my own representational method.

As the saying goes 'in the beginning there was water', I wanted to present a plot about a path of 'water to humanity' through the Water Clock Series. I tried to express the side of divinity in contrast with the side of humanity. At the exhibition, my works were to be exhibited next to the works by Mr. Kenji Imai. I made an experimental installation to express my concept encompassing the entire floor -- I tried to relate Mr. Imai's theme color, black, with my black colored woods attached to the bottom part, which represents the side of humanity.

The theme of the 3rd exhibition was A Dialogue. The overlapping ellipsoids can be seen as a column. This represents a dialogue of two figures as well as my dialogue with Sir Masahiko Usui, who presented a work titled 'Enclosed Space'. In his work, two lozenge shapes looking exactly the same were arranged one above the other. The arrangements were to fill in the gap between planarity and three dimensional spaces -- it can be seen as planarity, and also seen as cubical. I replaced them with ellipsoids and column.

I redefined the Water Mirror Series for the 4th exhibition in 2010. I tried to express ardent human desire with the part of water running over and protruding the black colored frame. The part of flat surface with painting and the part of three dimensional structures with stainless pipe repel and countervail each other. Concurrently, I started the Stars Series in 2010. Wood materials, which I regard as 'unintentional' or 'unconscious' materials cut out 'intentionally' into neat circles and sweeps, show unexpected expressions when used in combinations - this combination of intentional & unintentional, conscious and unconscious is also my vision of the future mankind.

最終回となる展示を気分一新、市ヶ谷の山脇美術専門学校施設である山脇ギャラリーにて開催しました。 メンバーそれぞれがより大きな作品をゆったりと展示して、美術館のような飾りつけとなりました。
私は前回の作品の続編として『水鏡 �W』と、今回の共通テーマである “展開” をイメージした 『ＴＥＮＫＡＩ』、以上二点を出品しました。

『水鏡 �W』においては横６ｍ超、高さも２．４ｍくらいある、壁面いっぱいのインスタレーション的 展示を行いました。しかし、あくまでも従来の絵と額との関係を問うているメッセージは変わりません。 中央パネルが絵の部分で、心理的な深さを意図しているのに対して、周りを囲む8枚のパネルは加速度的に 爆発するような “人間の欲望” “欲求” を表現しています。立体的な形で言えば球体です。 さらに一枚一枚に人間の異なった感情を込めました。喜び、怒り、悲しみ、楽しい、ウキウキ、などです。

『ＴＥＮＫＡＩ』では、メンバー7名がさらに発展するように七面体の展開図を描きました。 私が感じる各メンバーのイメージカラーが施されています。また、それぞれの色面に白を足した色面が隣接していて、 それは新しいサテライトがメンバーを増やして行うことの暗示です。