In contemporary art, there are works like Duchamp’s ‘Fountain’ that are supported by institutional elements and are accepted as ‘art’ despite not appearing to be art. This fact enables me to create something art-like, but I don’t actually create art itself.

What I particularly emphasize in my work is the utilization of the art system from a physical aspect. For example, by framing or mounting on a pedestal, or by sewing exhibition spaces and pedestals onto dirty work clothes or clothes with logos that cannot be considered art in reality, I attempt to establish them as art. In other words, my approach to art production is a method of ‘creating without creating art itself,’ suggesting that while creating art is difficult, establishing them as art through institutional elements is possible.

The art system also involves distinguishing between art and non-art. This concept did not exist in Japan before the Meiji period. In Japan, there is a history of painting on screens, fans, and kimonos, and people living within that context were able to appreciate art in their daily lives without the need for exhibitions. This indicates that art and daily life were undifferentiated.

The art I aim for is a state where art and daily life are undifferentiated or interact with each other. To emphasize this, I actively incorporate techniques used in handmade and DIY, which are far from specialized techniques such as brushes or chisels, and sometimes wear or use the artworks themselves to ensure their critical nature.