|In the language of art, Metaphor is not to look concretely as things as they may appear, but to see them differently. The subject here is like other things by revealing other images to viewer.
For example, in Japanese rock gardens, or “dry landscape” gardens, patterns raked in white sand or gravel are used to resemble ripples in water. It is said that the flow of water represents impermanence. In the art of the performance in Japanese tea ceremony, Sen no Rikyu applied this same metaphor and adopted daily housewares as tea paraphernalia. Rikyu used a water flask and a bamboo cylinder as a flower vase. This metaphor has been widely used in Japanese artistic expressions. When I stood in front of the wall of the temple located in Chiang Mai, Thailand, seeing the painting created by nature, I applied the Japanese metaphor. I viewed the painting of black moss and mold eating over a white wall. When I saw the painting of intertwined black and white, it reminded me of Taoist taijitu,“diagram of supreme ultimate,” which represents “yin and yang.”
The concept of “yin and yang,” which has its roots in Chinese philosophy, is to classify the universe or the things of the universe into dark and light, yin and yang. It is said that the state of the primordial universe was chaotic, and the bright Qi (yin), full of light, ascended and became the sky. In reverse, the heavy murky dark Qi, yang, descended and became the ground. All things in universe kept the order of nature as these two conflicting Qi blended.
As seeing the wall of the temple with black and white mingling and competing with each other, I viewed it not just a mossy white wall, but as a state in the process of separating from the original state of universe into the sky and the ground. That is to say, I used a metaphor of parting from chaos and forming, gathering into shapes. Facing the wall, I shot from the front like reproducing a painting, like making a copy of the ground from the sky.
Then, I named the series of these works Origin, the beginning of the universe.