Concepts / About This Work
In Shinto, there is no fixed notion of death as a final end. Instead, a distinction exists between the living and the non-living—yet the non-living is not understood as absence or void. Rather, these realms are deeply interconnected, forming a continuous and unified existence.
In this work, the upper, dominant portion represents the world of the living. Two directional forces of energy are at play: a horizontal flow and a diagonal flow.
The horizontal movement is expressed through green fig elements, their left-to-right direction reinforced by strands of orange-tinted bamboo—tightly gathered on the left and gradually opening and dispersing toward the right.
Intersecting this is a second force: a diagonal, almost vertical flow descending from top to bottom. This is embodied by a dense mass of untamed green lines, suggesting an organic, uncontrolled energy.
At the point where these two energies converge, something new begins to emerge. This moment of creation is represented by the soft light green tones of swan bush. Within this emergence, a presence that feels almost sacred appears—symbolised by the white protea.
The lower portion of the work introduces three elements representing the non-living world: succulents sustained without water, driftwood, and dried asparagus fern. These forms remain partially concealed, yet they quietly underpin and support the vitality above. They do not signify death, but rather a latent realm—interconnected with the living, and capable of re-entering it through transformation.
I am drawn to creating a work that gradually reveals shifting features and colours as the viewer moves around it. Much like a kaleidoscope, the piece transforms through movement, offering evolving patterns, layered reflections, and visual experiences that unfold differently from each perspective.
