Hiroshi Sugimoto - Appropriate Proportion: Go-Oh Shrine (2002)

Artist’s statement: 

“Go-Oh Shrine traces its origins back to the Muromachi (Ashikaga) period (1338-1573). In recent years, however, the structure had deteriorated considerably and was slated for reconstruction under the Naoshima House Project.

Called in as artist-designer, I avoided existing shrine typologies and tried to recreate an imaginary architecture more in keeping with ancient Japanese Shinto worship.

Prior to shinmyo-zukuri (the first Shinto architectural style formalized in the 7th century), animist worship is thought to have focused on sites in nature where some special quality or force was felt—ineffable ‘power places’—whether in giant trees or waterfalls or boulders.

The ancient Japanese conceived of their kami (deities) as manifesting themselves only when humans purified their ‘power places’ for them. Thus, my vision of Go-Oh Shrine started from the giant rock slab visited by the local kami

The shrine comprises 3 main parts: the Worship Hall, the Main Sanctuary, and the Rock Chamber. The massive rock slab completely cuts off the Worship Hall and the Main Sanctuary from the Rock Chamber; only the ‘stairway of light’ joins the celestial and earthbound realms.

From the underground chamber, a concrete-walled passage leads to the mountainside. Visitors to the shrine first worship at the divine iwakura (stone seat) and shrine hall, then descend to the ‘ancient’ underground chamber via the concrete passage, lastly taking in a view of the sea through the portal to the present on the way out.”



Marc da Cunha Lopes - Vertebrata (2011)

“Skeletons of questionable origin in a variety of domestic and human settings, arranged to carry a solemn and often pensive look, as the sole subject of a seemingly abandoned world. Careful use of light and color palette lends the tableaus an unexpected sense of drama and character to these at once imaginative and delightfully weird collection of photographs which breaths life and emotion into the inanimate creatures, giving them a narrative that dabbles with the notions of loss and emptiness.”



Do Ho Suh - Fallen Star (2012)

Fallen Star reflects Suh’s on-going exploration of themes around the idea of home, cultural displacement, the perception of our surroundings, and how one constructs a memory of a space. His own feelings of displacement when he arrived in the U.S. from Seoul, Korea in 1991 to study led him to measure spaces in order to establish relationships with his new surroundings. He had to physically and mentally readjust.”