I create artwork based on the flood of images appearing in mass media. I copy these images repeatedly, moving back and force between two dimensions and three dimensions, foundation and surface, presence and absence, and subjective and objective viewpoints. The object in an image becomes disassociated from the actual physical object, and the object slowly drifts away from my initial understanding of it -- like an image that gradually blurs as it printed on a silkscreen that becomes more and more clogged by ink. I sometime start working from the sate of absence, from within a tenuous reality in witch things I have never actually seen or experienced I only "see" as image. By retracting the steps taken to interpret an image, the structures and systems hidden behind the image emerge. A physical object in the image becomes an uncertain thing, like a phantom. I insist that I have "seen the object" but this assertion is unreliable and thus is disregarded. Meanwhile, my own existence becomes uncertain. Then, subjectless desire and action, directed towards understanding the object, return to an unfathomable "existence".

Midori Harima
New York, 2011


播磨みどり 2011年 ニューヨークにて

TEXT ”Prints: A place for reality and fiction/印刷:リアリティとフィクションの場所”(2023)
TEXT ”裏側からの越境”展に寄せて(2022)
TEXT “300日画廊と佐藤さんのこと” 300days Gallery and Sato Yoichi (2022)
REVIEW “ポリネーター展に見る「美術のおもしろさ」について” (2021)
TEXT “郊外の美術原理主義国家の法と倫理” (2020)
EXHIBITION STATEMENT ”Crossing The Boundary From Behind" (2019)
TEXT  "Democracy Demonstrates - What I have consumed in 90 days in Korea" (2015)
BLOG "한국 길가 피크닉 - Roadside Picnic in Korea” (2015)  
TEXT  "The Roadside Picnic Chapter two" (2014)

TEXT  "Story Spoken by Outline" (2003)
TEXT "Clean Castration" (2001)