We have not established a theme for the individual works themselves. Rather, I am focusing on the artifice of production, the possibilities of digital processing, and the subject-object and coincidence issues contained within them.
(Regarding artifice and possibility) For example, I do not necessarily use digital processing such as filter effects according to the textbook. I am not bound by the framework of "this effect is used when I want the image to look like this," but rather, I freely add processing as much as it fits my aesthetic sensibilities.
(As a result, the process of creating a work of art is multifaceted, and the number of combinations of digital processing is astronomical. For example, let's say you are creating a work of art by layering four images on top of one another. If there are 20 possible processes for each of them, that is a tremendous number of combinations, and it would be impossible to attempt them all in sequence. Nevertheless, my work consists of an average of 15 to 20 layers, each of which has 50 to 60 filter effect options, and each filter also has the option of processing the filter itself, so that when you multiply them together, you have an infinite number of options.
I find my own beauty in such vast possibilities. This is my theme of creation and exploration. In traditional artworks, the connection between the brain nerves that create the work and the object, such as paint or canvas, that receives the effect of the brain nerves is remarkable and realistic, and the relationship is constant until the work is completed. On the other hand, in the case of a work that relies solely on digital processing, the object has its own mechanism that is completely detached from human subjectivity, and while the effects of subjectivity are no less than those of a traditional physical work at the entrance, the deeper one goes, the more one's options narrow, and before long the freedom of subjectivity becomes completely ineffective. I simply follow the commands of the object mechanism itself. Mysteriously, the resulting work almost matches the beauty I crave. My theme is to reveal that my intended beauty exists beyond the mechanical progression of digital processing.
In the case of this work, the desert and water images came about almost by accident, and they matched my sense of aesthetics.
