July 28, 2010

Rumiko Hagiwara

(1979, Tomioka, Gunma, Japan)

In shadow
graphite, lamp, door, shadow

"How can we escape from the frames in daily life?

I like this story in Japan that goes like this:
One day, a person was walking to his home. He walked down the road he walked on a daily basis. He noticed there was a rock on the ground. His mind was opened suddenly by noticing a trivial thing. He felt there was a god here, and that he stood in another world. He saw that his daily view was changing.

I think phenomena of the world surrounding us always have some kind of system bounds or frameworks, but we are not aware of being part of such bounds in spite of the fact that all bonds come from just this daily life. I have grown up in a small society of the countryside in Japan where traditional manners exist. These traditions made me feel choke, so I tried to escape from these chains and be free. This was the starting point where I became involved in art. But I was still in bounds by an unconscious mind.

Now I think that, rather than trying to escape from the chains of daily life, freedom and art can exist along within these bounds. We are looking for something outside our position but we can never exist outside our daily basis. This made me wonder: if we change our ways of seeing things in daily life, can we than start moving towards the outside framing, even though we are inside? This means pursuing a parallel, a method of making a distance between you and the phenomena for the coexistence in the world.

My works consist of tiny changes in space(s). Spaces have memories and time remained by actions of people. These memories can easily be ignored in daily life but with my work I point the attention of the viewer to it. In one of my installations I made a line with transparent tape following the shape of the corridor we walk down every day. By making some 200 layers of tape this line became very thick and white because of the air and the dust in between the layers. Through this work people became aware of the line made by daily stuff on the ground for the first time. From that point their view went up, followed along the surface of the corridor, and spread out the space. The action in a process like this can be more important than the work itself. The wall was just there and the light on the ceiling was just there. But because of my work the viewer could look down at a daily situation from far away.

You can hide a certain object in front of you on purpose. Then, your mind is opened adversely, because nothing is shown. Your view cannot be controlled or attracted by any particular point of attention, and there are no structures or lines forcing a connecting stream between you and that point. Therefore, you feel liberated. You are able to pay attention to the surrounding nature that is always next to you and that makes you alive.

I propose that everything is just there and if you change a point of view in daily life, you can transfer to another world just as if you where outside that daily frame. I find the attitude or stance to keep that up, beautiful. I think we should continue this act of tiny changes to confront the frame in the world."

Website van Rumiko Hagiwara

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