Nagata’s work, by repeating to the utmost limit the consideration of “nothingness” from the katakana form of “mu,” is placed permanently in the innermost part of the space as a monument of instinctive form that is located on the opposite shore from the thoughts that appear clad in a smooth surface layer.
Kawahara’s drawings, through his residency in the exhibition space, intuitively and ritualistically present site-specific elements as random or incomprehensible images on a platform for the language of index cards.
The coexistence of the two works in the same space is an attempt to establish a cycle from contemplation to instinct, from impulse to contemplation, to dismantle the boundary between individual and individual existence, and to bring all dualistic concepts back to “nothingness”.