In September 1984, the exhibition Hatake (6 artists) was held at Art Space Zao, the orchard of the owner of Maki and Tamura Gallery, and it became an opportunity for me to create works in the field.
The outdoor residency not only expanded my field of expression by freeing me from the white-cube method of making and exhibiting works, but it also gave me the opportunity to immerse myself in the act of expression with an awareness of the earth, and to conceive an unknown seed.

After that, I feel as if I have been driven by passion and have been struggling with creation (objects).
　When I was nearing my 60th birthday, I began to feel a seed secretly growing inside my body, aching to acquire a new expressiveness.
　I think the event that triggered the germination of the seed was when my mother, who had supported my creative activities and life for a long time, collapsed after the earthquake, and I moved to UBUSUNA to put an end to the drifting and wandering life I had led since the age of 15.

　In UBUSUNA , I had the memory of a decaying custom, like a withered branch of a large tree. Even the festivals, which were supposed to have conveyed the passionate spirit of the community for many years, were only being handed down and protected by a few old people. 　When we try to establish a relationship with the things and things we perceive in our daily life from the inner desire of our hearts, we find that it starts from the value system inherited by the UBUSUNA space and the surface information that we have absorbed and selected through our activities. I would like to visualize, touch, and visualize the fear that the enlarged information will cover the maternity soil and cause the loss of the balance of life forms.

20thJan.2020 Kyuiuchi Sato