I work with a variety of media―from installation to sculpture, text to photography―but the conceptual basis for my work is always the print.
Duality, indirectness, and plurality are essential parts of the physical creation of prints―and of the way of thinking that printmaking embodies and promotes. Printmaking involves multiple perspectives. I am interested in investigating the possibilities of printmaking as a way of thinking, as a cognitive mode that connotes and denotes multiple dimensions and layers in physical, conceptual, and sociological structures.

Printed matter has always been the most influential media for me. Time and space, consisting of letter and image as ink on paper, only exist in printed matter. Time and space have a reality which can be realized only in this form. Although prints emerge as indirect, secondary, and mass-produced objects through the process of editing, translating, and copying, the experiences of both creator and viewer are always primal, direct, and genuine. What I consider the unique and essential nature of prints―the “printness” of prints, as it were―is something that functions even though a print is a copy. To be more precise, the print functions because it is duplicated, and it is this duplication that provides the genuine experience of the medium. The experience is essentially identical to the experience of “printed letters.” I am interested in the “place” created by printed matter―the place where theoretical time, space, and a physical body meet, manifesting the “relationship” between different dimensions.

Editing, translating, and the involvement of automatic processes are essential for my work. Duality, indirectness, and plurality are created by those processes, and they generate “movement” across different dimensions. By tracing back the production process of printed matter, I am trying to reconnect physical territory to the territory of experience―and, at the same time, access the physical dimension from the dimension of representation/interpretation.

Printed matter is generated by the physical contact of a plate and paper, and in interacting with it, we utilize our fingers as much as our eyes. The state of prints―which is the result of the contact between two different things―can be superimposed on the process of self-formation―that is, the formation of a self―and therefore be considered as a model of building identity. In my work, I challenge myself to reinterpret/renew my “secondary” and ”relatively” formed “identity as print” in reaction and contradistinction to assertions of “primal,” “subjective,” and “independent” identity.

Midori Harima
Hong Kong, March 2019






播磨みどり 2019年3月 香港にて 

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" 裏側からの越境 (2019)
TEXT “ゴミをめぐる考察” (2017)
TEXT  "Democracy Demonstrates - What I have consumed in 90 days in Korea" Democracy Demonstrates - 90日間韓国で私は何を消費したか (2015)
BLOG "한국 길가 피크닉 - Roadside Picnic in Korea” 路傍のピクニック 韓国 (2015)  
TEXT  "The Roadside Picnic Chapter two" 路傍のピクニック第二章 (2014)

TEXT  "Story Spoken by Outline" 輪郭で語られる物語 (2003)
TEXT "Clean Castration" 清潔な去勢 (2001)