Text/ Tomonari Nakayashiki
One day, while out for a walk, a thought casually crossed my mind: “The characters for ‘inner’ (內) and ‘flesh’ (肉) are strikingly similar.” This sparked my curiosity to delve deeper into the connection between these two words.
The characters for “inner” and “flesh” are not only visually alike but seem to share a conceptual similarity as well: both point inward. However, this inward orientation cannot exist in isolation; the presence of an external counterpart is a necessary precondition. The inner and the outer are interdependent, coexisting through their opposition.
This perspective draws from the philosophical concept of “place” (場所) introduced by Nishida Kitaro. “Place” serves as the foundation for all existence to manifest, transcending dichotomies such as subject and object, inner and outer, body and spirit. In this context, “place” dissolves opposition, functioning as the root where all becomes one. Thus, within this framework, the inner and outer are unified.
The act of gazing at a painting operates similarly, encompassing both inner and outer elements. At first glance, this gaze seems directed outward, toward the painting as an object—something external. Yet, in truth, it transcends the dichotomy of subject and object. Painting creates the “place” where this pure gaze becomes possible, and I aspire for my works to embody such a space where the flow of gazes converges and intertwines.