Yosuke Ito

Paper Structures  1997-2002

1.4.5. Between the Laps 2002 / Opening performance by Daniel Goode / 55 Mercer, New York
2. Fence, a Border, Boredom 2001 / Gallery Surge, Tokyo
3. Fence, a Border, Boredom 2000 / Moltkerei Werkstatt, Cologne
6.7. Thin Gaze 2000 / 55 Mercer
8. Oval Marks 1998 / 55 Mercer
9. Bridge as a Fragment 1998 / 55 Mercer

Fence, a Border, Boredom@2001

It can be said that when we focus on something and gaze on it, we have no choice but to have our attention caught
by its background. Then, the afterimage which is also the vague background can be memorized instead of the center
of we focused. If the accumulated background gives us some effects on our later visual experiences.

It slips down when we try to watch it. We can find the landscapes through the fences, as a result of our trial to
visualize the mechanism of the slid vision in which we call gimageh. In this project, it is constructed from the stood
papers as screens, and that is bringing the short circuit between the reality and the image. When the similar images
from Tokyo and Cologne are projected on the both sides of the papers, the vestiges of gimageh can be surfaced. You
can re-experience it as a slow motion in this installation.

Fence, the weakest form of the borders. Nowadays, it has become difficult to see any borders in the so-called
borderless world, therefore, the visible borders make us insecure, then, the feelings are going to be re-projected
strongly to the temporary screens in order to escape from the no-perspective world, that is the fear of boredom.

Thus, we can reach gboring flatnessh by avoiding gflat boredom.h When we recognize that, the meanings of this
installation shift the other context. Is that the passage for universality or its last moments?