About Work

The Mixture of
physical space and non-physical space
A.I and the innate human intelligence(E.Q)
Fiction and Reality 
Fake and Real 
Copy and Original 



[Working method]

I copy my original self into the media as a protagonist, and make things that happen in my life into a fictional form of episodes. I select scattered fragmented memories and the imprinted memories of various events, blending them into a fictional space to create a state of confusion, causing a sense of disorientation. In the protagonist’s realm, only fragmented reality is intermingled with fiction, and the yet-to-be-revealed events exist in a folded state, akin to atoms.
These episodes are reconfigured and reproduced in different forms—sometimes installed in various physical spaces, or newly reconstructed in online or two-dimensional spaces. Throughout this process, the episodes are not presented chronologically, which makes the context jumbled, causing a parachronism. This approach grants viewers the freedom to actively engage their imaginations within their own channels of perception, like gutters in comics (blank space between the frames).    
That is to say, I expand a fiction into reality, and conversely, shift a part of reality into fiction, so that the boundary is blurred. Fiction serves as a device that obstructs the verification of events, helping to incorporate them into a virtual world.

How can individual subjectivity overlap with fictional existence?

My work involves crafting fictitious realities. I am quite interested in things that pretend to be real and make what does not exist appear real, and what exists appear nonexistent.
I select scattered fragmented memories and the imprinted memories of various events, blending them into a fictional space to create a state of confusion, causing a sense of disorientation. 
These episodes are reconfigured and reproduced in different forms—sometimes installed in various physical spaces, or newly reconstructed in online or two-dimensional spaces. Throughout this process, the episodes are not presented chronologically, which makes the context jumbled, causing a parachronism. This approach grants viewers the freedom to actively engage their imaginations within their own channels of perception, like gutters in comics (blank space between the frames).