shiseido art egg, a public exhibition that opens the Shiseido Gallery’s doors to emerging artists, is now in its fourth year. This time we introduce Asae Soya, Junichi Okamoto, and Goro Murayama, the artists selected for shiseido art egg 4.

For this exhibition I will create a space in between color and sound. Sound that emanates from color. I listened to such sound the entire time I was creating this work. In the work that I have shown up until now, I have always carried out something like traffic control between sound and color at the end before displaying the work. However, I have also wondered why color so pretty has to disappear. The disappearing color emits sound, and that sound flies around, spatters and reverberates. This alone has a lot of value, and I felt that this was a theme that would allow me to arrive at the origin of recognition. I am very pleased that my first large-scale installation could be in such a wonderful place.

This time I understood the subject of my sculpture to be the gallery space itself, and so I will modify that space enormously. It is going to be like I am carving away at the space with a chainsaw – I am going to divide the gallery into two distinct areas. I want people to step foot inside of the sculpture before doing anything else. What I mean is, this isn’t going to just be a work that you can understand with your eyes, this is going to be a space in which you must use a variety of senses. This work will greatly change the shape of the gallery and the image its space holds. When this work, “Fictitious Sculpture,” is finished, I absolutely hope that people will come and step into the gallery. In the future, I want to try living in different places within Japan and abroad, expanding the boundary of my activities in the largest sense of the term.

My artwork synergistically merges the act of drawing with the support structure in the environment it is carried out in while enlarging the space taken up by the drawing appropriately. I have constructed a system by linking together four largely separate steps in which I weave thread, paint a foundation for the work, draw over it, and then look at the whole piece, and I continue this system as a circuit. This system and its repetition give birth to heuristic drift (changes are created and incorporated) with the passage of time. If we think about artwork systematically – isn’t it something created autonomously out of a wide domain that includes the actions of an agent, the environment and time? I hope that I can express this idea through this exhibition.

http://www.shiseido.co.jp/gallery/koubo/index.htm