The work of Koichi Sasaki invites us into a field beyond our vision.
Offering a precognition of a phenomenon beyond our perception it appears to call upon some retreating sensibility. It refines our oft demanding pursuit of meaning, consequence and answers, and proposes another route for our unidirectional thinking.
In this way Sasaki's work softly refines and transforms our vision in a form of synchronistic dance.
The term "Aimai" is applied in Noh performance when two figures or more dance together in synchronized moves. Here awareness and composure are unified through the stage giving rise to a mental harmony in which at some point the very dance itself forms another environment. But this stipulates that one must consciously initiate Aimai and the other must respond, otherwise synchronicity will not occur. In this way the dance does not reflect the certain denial of conflicting meaning as found in the other reading of "aimai", referring to vagueness in Japanese, but instead points to the momentum in which two or more values are placed side by side and move in harmony, vibrating towards a perception of a greater world.
The resonance of perspectives which occurs in "Painting Aimai" recalls Kenzaburo Oe's criticisms of the nation's ambivalence in "Japan, the Ambiguous, and Myself" and quietly sounds an alarm horn at our over-extending society.
- Masato Nakamura（Artists、3331 Arts Chiyoda Director、Associate Professor,Tokyo University of the Arts）

*image (left)
courtesy of the artist