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From 90°to 90 °｢R｣
H330×W180×D180 (cm)
1980
| The ridgelines formed by stainless steel pipes begin from an initial shape that evokes a cube. From there, through simple movements, the work draws various forms in space, repeating the motion until it returns to its original shape. When an object with a pivot moves, its trajectory inevitably describes a curve. To draw a curve means that countless points exist along it, and within those points lies an infinite passage of time. Yet what we actually perceive is not the invisible trajectory itself, but rather the ever-changing collection of shapes. In this way, we recognize movement, time, and transformation of form as a whole. However, when we try to imagine in our minds the subtle changes that occur as the work moves from one 90-degree position to the next, they are difficult to grasp. It is curious that even though the form itself is extremely simple and only changes position, the transformation feels mysterious. This is because the entire structure is composed of 90-degree angles. Put simply, a square shape moves in a circular motion and then returns to being a square again. Just as the seasons shift unnoticed from spring into summer, within the span of each 90-degree turn countless forms are contained. Through them, one can sense the flow of time and its passing. I hope that viewers, too, can experience this sensation. In the case of kinetic sculpture, at least in terms of movement, participation is possible beyond visual perception alone. There is a closeness between the maker and the viewer. Personally, I am not good at speaking about complex contemporary art in theoretical terms, but if I can create something that is simply enjoyable, I am satisfied. More than with static objects, with moving works I feel a joy in being able to participate myself, through my own perception and experience. |
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