I mostly create works as pieces of visual art. Sometimes I create works representing tasting, such as food, as well as listening or touching, but when I create, I usually expect my work will be appreciated visually, regardless of the distinction between paintings or spatial works.
The juice in this painting is an image. But the juice you are looking at really exists. The stars wee see from the earth, the ridges of mountains, the horizon and other phenomena are so distant and out of reach. That’s why we can grasp their forms as they are. We cannot grasp the entire shape of the mountain at once, because we are on it. In general, the existence of something depends on our point of our perception.
In other words, if images were unreal, we would not exist in this world perceiving our shapes and forms. Reality is perceived by seeing. Yet, we lose track of our image in a fraction of a second. I want to stay in a world where images remain as they are because I don’t like a world where images vanish in the course of time. My prayer cannot be answered in the existing structure of the world. Therefore, I wonder if my works may change how we perceive the structure of space or not. They may provide us a means to another way. Because I believe my works are an effective way to answer my question, I can create my works anew over and over throughout the course of my life.
In the attractiveness of her overlapping of unblended colors
I feel that various motifs look as if they visually overlap each other, like layers, in the works of SAITO Haruka.
It must be fun for her to exchange memories and feelings through dialog with others yet, at the same time, I suppose, she might experience continual frustration because of her inability to grasp something concrete.
Her audiovisual installation, “The Shape of the Shadows are Mountains,” presented in 2017, indeed deals with such memories and feelings as her theme. She incorporates memorized stories handed down from her grandmother in this installation.
At this exhibition of Shinbism, SAITO was assigned a space in front of the visitors’ entrance at the Suzaka Hanga Museum. It is also intriguing to imagine that only a glance of her work at this exhibition will incite viewers, who visit the museum after the completion of this exhibition period, to remember her work vividly anytime, though it is no longer there.