Retern

Toward Unprecedented Medium

Hirai Ryoichi, Art Critic

2002 Art Book [℃]

It was after the mid 1990s, when I started paying attention to Moroizumi's works that I experienced the optical presentation of his installation of thermometers with no scales.

The red liquid was moving up and down in each glass tube, arranged in tens or hundreds. They were varied in length. Once these materials and conditions are set up, it is theoretically enough for the thermometers to express their identity as the device for the materials and substances. However, that depends on the features and functions of the materials during creation of the installation. As long as it concerns, these objects and practices clearly indicate where they are going in the high latent aspect. Yes, it is that emergence of indication. And that it is the self-indication presented in the course of realizing the way they exist.

In the cace of artistic emergence reached after thorough reduction to materials, though it has to be a schema, this resolution manes it impossible to be a connotation, which satisfies descent ideas and the meanings of things. To expand on this, that activity can't be anything other than a practice of emergence,  which functions in the denotation of the point where we face the world and things. If so, this is not an expression of a meaning, but the indication of a thing more or less.What matters is not a widely distributed notion of modernism or post modernism. What matters is the theoretical question regarding the existence of artistic emergence.

Of course I am not suggesting that Moroizumi is doing his works based on this idea. However, if a thought is made on the indicative side of his practice, it is not to be ignored about the transformation of paradigm of emergence. Or his activities have to be thrown away, drifting in the ocean of extended interpretation as if they are just symbolic pillars to convey proper meanings or as if symbolic thermometers.

Let’s take a more detailed look at this. All settings, like the length of thermometers, conditions, the number of them and dispositions, depend on the artist discretion. On the other hand, rate of expansion and contraction of the liquid in term of the temperature is already defined. He makes that mutual intervention clearly visible under the minimum condition limited to an accidental factor like a heat caused by the audience. For example, similar kinds of tubes and liquid tubes are arranged horizontally parallel to the ground, but the tubes containing the liquid extend toward the ground more or less, depending on the size or other conditions of the tubes. This is how the  installation, is directed by providing necessary and minimum variation physically and visually, It is about the tautological indication regarding the whole body, giving a definite order and form to the difference of materialistic conditions. In the other end, a positive form is created duo to the implication of repetitious expansion or theoretically infinite repetition of his works.                                                                                                           Translation Ayumi Kudo