I have always been obsessed by the desire to create “humanized machine”. Humanity naturally has the ability to generate life miracle. But why am I specially interested in humanized machine?

One of the answers might be traced back to the roots of Greek mythology, in which the figure of Eros had more or less enlightened me. As for literature, particularly among those contemporary ones, the works Dead Girls and The Allure, both composed by Britain writer Richard Calder, left an indelible imprint on my memory. Within his books, there was a group of whore gynoids (robots designed to look like human female) – the mixture of modern technologies and myths – that became the germ of my images. The gynoids, according to the character setup in those books, resembled the elaborate clocks and watches with precious metal, like the luxuries of decadent European brands such as Cartier and Bvlgari. Besides, I have been honored to meet some American scientists because of the cover-shooting program for magazine in the United States. The world view contained in Nanotechnology, raised by those scientists, which was the uncertain concept between infinitesimal machine and virion, was enormously attractive to me. Furthermore, as a photojournalist, I took part in the Artificial Life Conference of the middle 1990s in Santa Fe, New Mexico, United States, the experience of which also had a great impact on me. It was in that period that I decided to pursue my artistic creation for reflecting the trend of advanced science.

In 2002, I was consigned to a photography project for the metal installation artworks made by Mr. Masukuni Fujikake, the lecturer of Tokyo National University of Fine Arts and Music. That was the very opportunity spurring me on to the efforts of approaching Richard Calder’s world view via injecting my imagination into the works beyond the  photo studio. The outcome consists of the empty body created by Mr. Fujikake, the background world and the spiritual viscera embedded by me.