［作家コメント］
When I am watching sports, I feel a sense of witnessing a celestial map. Football is a prominent example. Points, lines and surfaces are intersecting complicatedly and irregular twists happen at times. These elements are always interacting to form a kind of intention and they bring new relationships to us.
Beginning at the rounded stadium, quantity of heat generated from the framed pitch is penetrating the world. I become impatient and desire to capture the sequence from multi viewpoint while I watch the game from a bird’s-eye view on the monitor.
Within the eternal double helixes, I would like to make given names and words ineffective by accepting(alternatively by confessing) without being opposed to nor running away from. Works of art always exist outside of the consciousness.Therefore, by treating my own body as a mirror, I stay close to the order residing in events and phenomena, or perhaps among the chaos itself. As a result of juxtaposing elements seen in the finished works, there are layers come up to appear.When I continue to shoot these layers horizontally with the arrows, hidden or disconnected relationships start to show their figures. This is similar to when we stop our hands during stuff sorting in one’s own room and being carried away by a long forgotten photo album happened to be found.
As I pay more attention to the space, works exist as if they are receding from our sight. (To be correct, workssimply exist there without rejecting us). Things that change their appearance depending on where they are seen from, things whose existence become uncertain in response to light. There are correspondences between two and three dimensionality within the works and the environment they are in. Intrinsically, we know a clue to perceive the world. The issue is that we are forgetting how we trigger it.
“White hole” is before my eyes. If viewers can stand at anywhere for looking at the painting, I believe that would possibly be an act of regaining the painting in the hands of human beings.

Yutaka Aoki