Most of the objects and environments in our daily life are made for some purposes and are given a role.
Even most of the 'natural world' that we encounter in our daily life is being converted for our convenience, or is at least in a converted environment, or is abandoned after fulfilling its role.
If those objects and environments are used in a totally different manner or put in a totally disconnected situation from their intended role, the concreteness will be extremely apparent and a 'parallel world' will appear.
This method was experimented with by many surrealists in the early twenties, and is also well established as 'musique concrète' within music history.
Even though I use the same method, I am more interested in entering this 'parallel world' through action, to experience a 'molecular communication' with the objects and environments through all my senses, rather than to make the 'parallel world' appear.
If I dare say, the purpose is to summon a 'primal world' from 'nature' that is filled with the swirling energy of the elements, such as water, fire, wind, earth, and void, through 'molecular communication'.

Such nature is often thought of as an imaginary product in a utopia which doesn't actually exist. However, since it is based on concrete matters in daily life, it should more accurately be called 'crucial reality'.
The expression 'crucial reality' may remind you of the cruelty of reality. However, when I enter into reality through 'molecular communication', I feel that the 'primal world', which is woven with elemental energies, is incredibly beautiful. Therefore I accept it rather as the 'crucial beauty of reality'.
Although beauty always exists everywhere, it is quite difficult to feel it in daily life, since it is covered by the showy brightness of practicality.
It is similar to the fact that we cannot see beautiful stars in the daytime.
The 'crucial beauty of reality' is omnipresent in daily life. Is it useless to record the action, to summon it into the sensuous world?
At least, there is no useless matter in this 'crucial reality' that is released from the spell of practicality.

2011 February, Vevey (Switzerland)

I'm a man, who loves women,
that once I was wrapped in, that once I was a part of.
I'm an adult, who loves babies,
that once I was, that I can never return again.
I'm a flesh, however I love plants,
that I eat everyday, that I can not become yet.
I'm an animal, so I love forest,
that I feel I should look like, that I can only aspire from a distance.

My despair, love and blessings are twisted
together into a dense resonance, while emitting like a fog.
Swimming arms in the air are trying
to spin the fog into something like a cloud.
The sea and the sky, the things which always stay together
but never cross each other.
The clouds, which can transparently weave them together.

I wonder if we can become a forest one day,
which grows by rains from the clouds.

2009 May, Vevey (Switzerland)

Myself, home, country, the conscious borders we have. I am interested in the process by which these borders are transformed through various experiences.
For instance, when somthing calmly touches the skin, I feel this strongly, but with a fuzziness of the border in same time. I think it is an experience of taking out "I" from the outside from me rather than feeling the "I" in me.
I often use sound as an element of my art work. One of the reasons is that the sound can soak directly into the listener, and it has a property to dissolve piled and stiffened remembrances.

an excerpt from the text for the pamphlet of "9th Abiko Open-air Art Exhibtion"
2006 October, Chiba (Japan)