In a deceptively humbly equipped video installation, the enigmatic artist K.K. explores such themes as the mundane and the repetitive with on-the-line personal/physical involvement and experimentation, producing vertiginous effects.
The first of three monitors of his installation is a double-decker construction; the top floor is a bungled together concrete cube which houses a diorama of a ubiquitous Japanese scene of a businessman reading the newspaper while waiting for his commuting train. Because the concrete cube houses, as well as hides it’s insides, the only way to view the diorama is via a small camera poking into the cube, which shows what it sees onto the monitor below.
Next to this monitor is a solitary monitor that shows a loop from a sculptural performance that was held at the previous Yamamoto Gendai show titled ‘Draw it Black’. This performance utilized the same scene depicted in the previous diorama, but instead of being a single scene housed in a cube, there were multiples of this scene, which were displayed on propped-up flat layers much like movie backdrops. These layers where arranged like hurdles that grew in size exponentially as they receded away, thereby creating a spatially illusionist effect that when viewed from a specific point made the layers appear as though they were defying the laws of perspective by failing to diminish as they receded. What was captured on video was a simulation of what would have been seen from this specific focal point as the artist sequentially burned down the layers, only to reveal the exact same image, ad infinitum with the aid of video looping.
In contrast to the fleeting quality of a piece of paper burning, the pyrotechnique show occurred after a 24 hour waiting period in which K.K. shut himself inside the gallery, naked and in complete darkness. The third monitor shows footage from this arduous performance in its entirety.