I discovered new deep sea fishes in the deep sea at about 10000m depth. I felt the charm and homogeneity of the deep sea environment and deep sea fish, and open a Japanese restaurant called "Kiruya" in the deep sea. Restaurants are open three days a week and I prepare the ingredients during the off week. The main menu of the restaurant is deep sea fish sashimi, and I collect the deep sea fish that live around me and make up the ingredients.
Although this absurd narrative is obviously a fiction, It is a metaphor for my environment. I feel a sense of homogeneity when I look at the stomachs and chin of the fish that were grown so large for survival in the harsh environment
I don't think the deep sea fish guest who came to this Japanese restaurant is any different from his situation.
I identified him with myself and with deep sea fish. And I treated him a deep sea fish food (Mukozuke). But the guest must wear the mask I provide.
He is not allowed to eat the food he is given, and is only allowed to make visual observations.
This kind of situation creates a contradiction. The audience experiences a " visual intake " of the food they can not eat. It is a strategy that gives the customer a taste of a series of experiments related to the physical properties of the sculpture, my thoughts on how to make traditional media, and my interest in combining the media. But I deliberately hide my story through a bizarre epic called a deep sea restaurant, and adjust it to be symbolic.
The " deep sea fish " (sculpture) that appears on the video consists of a sculpture that was completed by someone else.I have identified hunting-gathering with re-casting other people’s work, and show my antipathy to the definition of sculpture making. the " deep sea fish “ (sculpture) that were hunted-gathered by me (re-casted) sliced into a thin sashimi, and thin sashimi neatly placed on a plate reminds of a painting on a canvas. I would argue my view of produce sculpture and painting by pseudo act that defines it as a painting