Category Archives: Works

Polyhedral space

Photo: Yasuhiro Chida


Echangeur 22/Mobility #2
Center municipal of art Helio Oiticica Rio de Janeiro
Silver thread, Wood
W:1,100m D:300mm H:600mm

The Himalayas in a zelt

A tent in the mountains,  mountains in a tent. This work was created for a “tent village” (*). This tent was actually used in a mountain setting, and was pitched on Mera Peak at an altitude of 5800m (while the peak lies at 6476m). The mountain is a fictitious thing: it was created by extracting a mountain-like form from memories of mountain climbing and topographic drawings. Although this work does not move, because the scale is not fixed, shifts in scale occur in one’s own visual consciousness. Ridges and valleys appear alternately: all the valleys combine with each other and lead toward the town, while all the ridges become one at the peak of the mountain. Mountains are created by water.

*Annual art event called “art & river bank” held in Ota City. Yasuhiro Chida held workshops called “Making My Own Snow Mountain” during the event. <D.W>

山の中のテント、テントの中の山 。「テント村」(※1)のために作られた。このテントは実際に山で使用しているもので、Mera Peak のハイキャンプ(5800m) でも張られた。山は架空のもので、登山や地形図の記憶から、山らしい形を抽出して作られた。作品に動きはないが、縮尺を設定されていないため、見る意識の中で縮尺上の変化が起こる。尾根と沢は必ず交互に現れ、全ての沢は合わさり街へ、全ての尾根は山頂でひとつになる。山は水により作られる。

※1 art & river bank(大田区)において例年開催されるアート・イベント。会期中、千田泰広による〈MY雪山を作る〉ワークショップが行われた。

Experiencing a consciousness of degeneration through ultra-low frequency sound

In this work, the viewer enters a cocoon with a diameter of 2 meters made by weaving ivy together. With controller in hand, one can adjust the sound from an audible range to an ultra-low frequency (50Hz to 12Hz). Ancient shamen used to make use of this sound in the Maeshowe type of chambered cairns, which were built to give off such ultra-low frequencies, in order to induce changes in consciousness.

This function is controlled by one’s psychological state, so that one’s five senses would have a sense of direction. The act of influencing consciousness without relying on the five senses has a universal function that does not depend on the state that the viewer is in, serving as a sort of compass for one’s psychological environment. <D.W>




300kg of iron sand flows down continuously from a height of 7 meters, at the center of an open atrium. A mountain of sand quietly takes shape, starting from nothing. The particle size of this iron sand is strictly aligned: the particles reflect the light and glitter. Emotion, thought, and life itself exist, invisibly, inside time. <D.W>


Toyoshina Art Museum/Nagano, Japan
Magnetic sand, Steel pipe, Wood, Stone, Motor, LED
D:2m x W:2m x H:7m


This work attempted to lock up light and time in a fluid material: a sculpture made of fluids whose shape is determined by their continuous flow. 1000 liters of oil cascade continuously from the ceiling like a waterfall, inside a 40 foot shipping container. Because of its viscosity, the flowing oil appears to be stationary. At the bottom, the brimming pool of oil shimmers quietly, its surface expanding like a mirror.

Nature establishes a relationship with humans just by being there. As such, it is possible to interpret and receive it in any way: we see in nature what we, ourselves, saw there. Nature is like a mirror that reflects the inner self. Things that are hard to grasp — like the stunning beauty of nature, its complexity, and the laws behind these phenomena — are transferred into the work just as they are, without attempting to impose understanding on them. Artistic creation wrought by a human hand that does not depend on it forges an intimate relationship with nature. The relationship between the author and nature, that between the author and the viewer, that between nature mediated by the artwork, and that between people who have experienced the work, all have a “loop”(*) that runs through them that differs from the act of confronting nature directly. A truly distinct sense of an individual or ethnic group — such as the Japanese sensibility of wa (harmony) — consists in what remains after superficial forms of expression and technique have been eliminated. The pallid light used in this work is one of the four colors that the Japanese have been aware of since ancient times: red, white, black, and blue. Blue is a color that connotes beauty. It is also the color of the thin atmosphere that covers the surface of the Earth as seen from space — to me, the most beautiful color of all.

 *The Japanese for “loop” is wa 輪, which is a homonym for wa 和, a term that refers to harmony, and Japanese culture and attributes in general. <D.W>

流動的な物質の中に光と時間を閉じ込める。流れ落ち続ける液体によって形作られる液体の彫刻。40ft の輸送用コンテナ内、1000L のオイルが天井から滝のように流れ落ち続ける。流れるオイルはその粘性により静止して見える。底にはオイルを湛えたプールが鏡のように広がり静かに揺らぐ。


Retina Light

Photo: Yasuhiro Chida

Light is the purest of all materials. It is a presence that is more certain than either space or time. Humans necessarily evolved to become creatures that depend on sight. Light exists only in living organisms.

Light strikes cotton that is rotating at a fast speed. The contours of this material become blurred as a result of the rotation, so that it becomes just a mass of light. Visitors see the image that this light leaves behind on their retina.  <D.W>



Toyoshina Art Museum/Nagano, Japan
LED, Motor, Cotton
W:400mm D:400mm H:400mm


Photo: Yasuhiro Chida

A cave made out of cotton fluff taken from about 8000 reeds was installed in the gallery. Hanging in the center is a translucent board measuring 7 meters long that vibrates faintly, making its outline rather ambiguous. Light strikes the board, causing the shadows and reflected light to quietly and gently dissolve into the walls of cotton fluff.

Just as a fish in water does not notice the water, it is difficult for us to perceive a space while we are in it. By being outside it, we become able to grasp the situation. By being aware of a situation in which that space is absent, forming an image, and perceiving it, would it be possible to deal with that space from a position outside it — outside this space that we ordinarily occupy as if it were perfectly natural to do so? In order to perceive a situation in which that space is absent, things that are equivalent to space, or more certain than it — in other words, light, time, or gravity — can serve as guideposts. <D.W>



Rokuzan Kensei Hall/Nagano, Japan
Reed, Motor, LED, Wood
W:6m D:12m H:3m

Kalamatoria 02

13km worth of black and silver threads twisted together were stretched out in a reticulated structure across a large open atrium. The entire form was necessarily dictated by the interior space of the architecture, lines of movement, the movement of the sun, and the placement of the security sensors. The work appeared and disappeared again depending on the existing lighting arrangements and reflected natural light, shifting in an infinite number of variations as time passes. The points of light also twinkle and appear depending on the movements of the viewer. This is a sculpture that consists of phenomena, existing within the movements of the Sun and the visitor. <D.W>



Kalamatoria 01

13 objects of various materials and forms, made through different techniques, hang suspended in the air. Each one is illuminated by light with a unique color from a particular direction, and the audience can view the work from the corridor.

Meaning is measured through space. Light and objects, the invisible forces such as their shadows and gravitational force, the act of viewing them — the direction and meaning of all of these are loosely connected to each other, while inducing an unrelated shift in the quality of the space. <D.W>

13の様々な素材と形状、技法によるオブジェクトが空中に浮かんでいる。 それぞれに固有の色と方向を持った照明がされ、鑑賞者は周囲の回廊から鑑賞する。


Kalama Park Project

This project involves creating an art park that visitors can stay in, combining my past works with new ones. As many of my previous works were made for temporary installations, only video footage of them remains. Here, more than 50 pieces were installed permanently in a space where visitors can experience the works at any time. Also on permanent display are works with a connection to the surrounding natural environment and the movement of the celestial bodies. In this museum, guests can stay inside the interior of these works which have a variety of different possible uses, such as the background for photos in fashion magazines, or as a hall for concerts and events. The workshop also functions as a base for local residents or artist residencies. I am currently looking for a site to realize this project. <D.W>