Yuki Moriya

statement
My work is based on the theme of "the polyphonic resonance of absence and presence. My main subject is fieldwork on the changes
and gaps in nature and cultural manifestations, and I create installation works using photographs, videos, and objects taken during
the fieldwork.
I have been using photography as a medium for my work because I am interested in the fact that the shadows that cover a photographic
subject cannot be physically torn off, but by tearing up the paper on which the photograph was taken, a different meaning emerges. The
existence of the shadow that covers the subject, the existence of the shadow that has become invisible, and the existence of the light that
seems to erase the subject, there are many visible and invisible things that resonate together in a photograph.
I believe that the invisibility of images and the displacement of meanings are similar to the changes in social signification. People have usedtheir imagination to give stories and meanings to the stars from nature, or extracted symbols from animal life, and reflected them in their lives
and beliefs.
However, many of them have come to lurk in the shadows due to the changing times and changes in social styles. What is the problem of the
shadow of what once existed? I will attempt to approach the shadows by focusing on the changes and shifts in images, social trends, and therelationship between nature and culture.

《walk with serpent》
2012-2021

I have been doing fieldwork in various places. I sometimes hear stories from the people I meet there.
There are old stories and legends about the land, completely unrelated small talk, and other miscellaneous things.
Among them, there were many stories deeply related to water, such as rain, rivers, and lakes. In areas where landslides and floods often occur, the stories are not told as disasters, but assnakes and dragons that have transformed into people and attempt to make contact. I think that anthropomorphizing nature is like giving spirit and body to words with a feeling of awe.
At the same time, it is a way to pass on the history and nature of the land, and to leave behind personal impressions.
I try to look back at nature through the personification and symbolism of the snake.

sube to sirube #2
Gallery PARC
O-eyama Art Site
2021.10.30 - 11.8
material
UV print on acrylic board,movie,wood,iron,pottery
Low speed motor,silkscreen printing,obsidianslide projector,mirror,LED,Rewrite fieldwork diary
cooperation
daiki kosaka
shu ogasawara
mitsuo kim
organizer
Gallery PARC《Hothouse》
2020-

I am working on the theme of "nature and culture" by researching and fieldworkon the changes in the symbols and social trends.Tokyo, Japan was burned down
twice, in the Great Kanto Earthquake and the Bombing of Tokyo. Since then,Tokyo has been planning an urban scheme called the Green Space Plan. As
cities became more industrialized, plants were consciously used in cities for avariety of purposes, such as to heal the minds and bodies of city dwellers and to
reduce pollution. We could say that this is the institutionalization of looking at
nature and plants.
There is a novel called "Long Afternoon on Earth" by Brian W. Aldiss. The
story is about the Earth's rotation stopping due to the approach of the sun, andplants that have grown to enormous sizes due to the continued sunlight andfreedom from gravity are depicted as the champions of the Earth. The cessationof rotation will eventually lead to the prediction of a supernova on Earth.This
is because people are not a threat to the plants. The fact that the way ecology
works ignores people makes the sense of apocalypse even stronger.
If looking at nature is an institutionalized way of looking at the world, we canget away from the system when we look at the city through nature. Or perhaps
it is the time itself that awaits the supernova depicted in "Long Afternoon on
Earth. I take pictures of the holes in the leaves to see those eyes and time.

《 between fear and dear 》
2018-2020

I was told by a local resident that there were salmon running upstream in the Yurappu River, and that I could see them up close. I heard such a story from a local
resident, so I drove about 30 minutes from the beach where I could see Mt.The upper reaches of the river we wanted to visit were a little off the road and the only
sound we could hear well was the river flowing.I parked the car and looked out over the river from a nearby railing to see a school of fish running upstream.The lightreflected by the scales and the shimmering surface of the water indicated the location of the salmon. A little further on, I saw a black mass that contradicted the glow.
It seemed to be a gathering of crows. As I stared at it, I saw blood and guts spread out like a splattering of red paint. When I went down to the riverbank to observe it
up close, the thick, thick smell filled the air.I learned, for the first time, that people can be alarmed and frightened by a smell.Maybe there was a brown bear there justa moment ago.I looked around and saw that there were salmon buried everywhere, surrounding a large footprint.As I watched the reddish-black liquid slowly ooze
out of the pure white snow, my speculation turned to certainty.As a habit, brown bears bury their food in the snow. The purpose of this is to hide, to preserve, and toshow their presence.I was fortunate enough not to run into an actual brown bear at this time, but I found that its absence made me imagine its presence more firmly,
and at the same time made me feel awe.I have made works that deal with absence, but this was the first time I was in awe of absence. Through the brown bear, I cameto want to create work that involves absence and awe.
I wondered how long it had been since people started talking about souvenirs as "wooden bears," which had somehow become an established part of Hokkaido.There
are many theories about the origin of the wooden bears that were actively made in Hokkaido.One of the stories is that in 1921, Yoshichika Tokugawa found a woodenbear in Bern, Switzerland, and brought it back to Japan for the winter comfort and livelihood of the pioneers.Eventually, competitions were held, and exhibitions were
held all over Japan.It seems that this triggered a nationwide acceptance and establishment of the image that souvenirs from Hokkaido are carved wooden bears.The
Swiss wooden bear brought back to Yoshichika was an anthropomorphic one.In Switzerland, bears became extinct in the 18th and 19th centuries due to overhunting.
At least by the time Yoshichika visited Switzerland, they were either almost extinct or had become so.Perhaps the bears that were so familiar to the folk artisans living
in Switzerland soon became something that they supplemented with their fantasies.In Hokkaido, on the other hand, we can see a process of gradual transformationfrom anthropomorphic to a more vivid and authentic appearance.I think it was because brown bears were so familiar to them.In addition to the pursuit of reality, there
may have been a conscious or unconscious fear of brown bears in the film.The distance between people and bears seems to be hidden in the difference between the
representations of wooden bears in Switzerland and those in Hokkaido.
Bears are feared not only in Hokkaido, but also overseas, and are considered symbolic animals in various myths and folklore.In ancient Greek mythology, Callisto, anymph who was favored by Zeus, was turned into a bear by the jealous goddess Artemis and became the constellation Ursa Major.Among the minorities in Siberia,
there is a story about a man who went into the forest, took off his own clothes, had his clothes stolen while he was climbing a tree, and in the process grew bearhair.A man has been disguised as a bear, and the bear is said to be able to understand human speech.In stories and legends, there is a lot of assimilation andtransformation between people and bears.The way the bear stands is similar to the silhouette of a person, and when the skin is peeled back to reveal a thin whitebody, it must have reminded you of a person.Bears are animals that evoke conflicting emotions such as familiarity and awe.Perhaps he was longing for and in awe of
the strength of bears, overlapping their existence with that of humans.But it is never a mirror image relationship.In recent years, we have heard stories of brown bears
in Hokkaido getting used to people and towns, and of people getting close to brown bears.When you try to capture a wild brown bear on your smartphone, does
awe stand in the overlap between the subject formed on the LCD screen and the photographer reflected in the reflection?Just as the strength and awe of a bear's
existence can be represented and measured as a distance in the form of a carved wooden bear, I measure the distance between me and the absent brown bear.

beyond the light-Isa Mitake+Yuki Moriya,
KYOTO ART CENTER
2020.10.10 - 11.29
material:ink-jet print,UV print on acrylic board,movie,wood,brass,antler,Painting on acrylic board
Low speed motor,Xerox print,Fluorescent acrylic plate
Organized:Kyoto Art Center
Cooperation:Gallery Yamaguchi kust-bau、HAPS Planning, Inc.
URL: https://www.kac.or.jp/《The Plants see the Plants》
2018There is a story often cited for the pinhole phenomenon.
Aristotle noticed that the sun was the circle projected fromthe sunlight through the trees and observed the eclipse.
I remember his story when I am in the mountain where thesun is shining through the trees.
A mountain is a collection of lenses, or a huge camera
device.It's like a place where nature meets science.Or there
is a natural element in the photograph,and there is a photographic element in the nature.
I decided to use the leaves I picked up in the mountains as alens to take pictures of the place.

《it come down from the mountain》
2016

At the foot of Mt. Rokko, wild boars come down from the mountains.I had an opportunity tophotograph a housing complex in Kobe in 2016, and while I was walking around Rokko to preview thearea, I found signs with wild boars everywhere.The picture reminds me of one of my few memories ofKobe. There was a time when I spent my childhood in the city of Kobe.Now I have very few memoriesof that time, and one of the few that I do remember is encountering a wild boar.Although I only
remembered that information, I learned through the signs that wild boars still appear in Kobe as they
do today.For me, the cityscape of Kobe is a city completely embedded in the mountains.Even though
it was a residential area, it was neither urban nor rural, as the road dead-ended at the edge of town
due to a net to prevent rocks from falling, and the road was diverted by a ravine without a bridge.
That's what I mean when I say that the place is a combination of nature and man-made.
Mt. Rokko has a long history of being devastated by the repeated logging of forests and the
securing of fuel wood.As a result of the devastation, landslides occurred frequently, and after the Meiji
era (1868-1912), afforestation and erosion control projects became more active to prevent landslides.
After 1960, the development of cities in the mountains began, leading to the current cityscape.This
sequence of events is probably a natural form that has been adjusted many times to meet the needs ofhuman life.I wonder if we should call it artificial nature.And what is nature without human beings as its
subjects?It was a wild boar that suddenly appeared from beyond the mesh.They come unannounced.
Still, the quiet residential area remains quiet.
Then, what will I feel when I see a photo without people or wild boars?What is there to capture in thisplace?After seeing posts with images on social networking sites, I decided to go around the beastinfested areas and take pictures. As I looked back at the photos I had taken, I noticed that there
were some photos where my gaze was extremely low.The low height of the body gives a sense of
discomfort, as if it were a living thing and not a body taken by itself.When walking on a slope, I think it
is not so easy for people to turn their faces to the front.The more severe the slope, the more likely you
are to look up at the sky or at the ground.Otherwise, you will stumble without being able to see what's
ahead or where your feet are.Then, how does it look when the face is horizontal and vertical?It lowers
the gaze, as happened in the photo.In this moment, I experienced a gaze that was affected by theterrain.The indicator of "I saw" is transformed into the indicator of "I was shown by the terrain.Thereis a passage like this in Walter Benjamin's "A Short History of Photography".The nature that speaks tothe camera is different from the nature that speaks to the eye. The difference lies, among other things,
in the fact that instead of a space permeated by human consciousness, a space permeated by theunconscious appears.If we follow Benjamin, the result of the topography affecting the image can beseen as a photograph (where the natural and human gaze intersect).
Recently, in a conversation with an acquaintance, I heard that a wild boar that appeared at Heian
Shrine in Kyoto ran to Nijo Castle, jumped into the outer moat and ended its life.

installation view2018.5/6-5/20
Gallery PARC
material:ink-jet print,silver print,movie,wood,silkscreen
Cooperation: kyotographie satellite related project Special Exhibition
http://www.kyotographie.jp/kgplus/2018special/
http://www.galleryparc.com/exhibition/exhibition_2018/2018_05_04_moriya.html

《Listen to what you can't hear》
2016-2017

It was the spring of 2017, and all of a sudden I heard a violent soundintermittently coming from the walls of my house.As I listened, I heard birds
singing in groups.I remember that it had a high-pitched and somewhat humid
quality.The noisy sounds coming from the walls were frightening, but the fun
got the better of me and I started to record them on video.I couldn't see theirforms, but their cries came out of nowhere.With each passing day, the birdsong
disappeared a little more, and instead, the construction and noise became more
intense.I found myself looking for the starling's call through my earphones. It
was then that I realized that the sounds were not just audible, but that I was
specifically selecting and listening to what I heard.When I heard the cries again,
I felt almost joyful.Even though you can never touch them, each one has its own
texture and seems to be touched.
The way my body was trying to listen to the sound reminded me that a year
ago I had a month-long middle ear infection in my right ear.I could only hear in
one ear, which was similar to vertigo and made the distance between me andthe sound ambiguous.I think it had an uneven three-dimensional effect.Later,when the medication was working and my ears were slowly recovering, the joy
occurred when I realized that I could hear sounds. It was similar to the time when
I found the call of a starling through my earphones.
I was introduced to the woman's mother by an acquaintance and was able
to talk to her.She said she has been deaf since she had a middle ear infection
as a child.She had an operation on her right ear when she was in her thirties.
However, the hearing in her right ear had gone down, not up. 展 As the story
in the video shows, she is a chorus singer as a hobby. She said, "I enjoy the
harmonies that overlap with the voices of others.It seemed to me that she wasfinding joy in the resonance between her own voice and the voices of others
through her body.

installation view

Midway to the Future Project 2017 "Contradiction and Shield for Ghosts
2017.12/9-24
ARTZONE 2F
material：ink-jet print,otoscope,movie,styrofoam,cassette tape
Organized by: Kyoto Institute of Technology Museum of Arts and Crafts
Cooperation: Kyoto University of Art and Design, Department of Art Production
Planning: Kyoto Institute of Technology Museum of Arts and Crafts, Kyoto University of Art and
Design ARTZONE
http://www.museum.kit.ac.jp/nap2017.html#20171209
http://artzone.jp/?p=3195

まだちょっとマシだったとき ？
When it was still a little better?
多分小学校低学年ぐらいの中耳炎の時、それからずーっとだから。
Perhaps because it is otitis media of the lower grade of elementary school, then it will always be.
それが常？
Is it always it?
手術したのが 30 歳の時かな 。 結婚して京都に来てバトミントン始めたけれど、、
I guess the surgery was when I was 30 years old.

もともとどっちの耳がよかったんだっけ？

I married and came to Kyoto and started badminton, but…

Which ears were good in front?

やっぱりダブルスというのは、2 人でペアでやるんだけど、、
As I thought we had a pair of doubles, we had two people together, but…

前は右。

普通の人だったらペアの気配を感じるし、もちろん目で見えることは分かるけれど、後ろに行った場合、耳が聞こえづらいから気配が分からない。

It's right.

If you are an ordinary person you will feel the sign of a pair, and of course you can see what you can see with your eyes,

だから、今でも電話で聞くときはどうしても右で聞く。

When going behind, I do not know the signs because my ears are hard to hear.

So, I still hear the phone right.

どっちでも？
Which also?

癖？

人が後ろにいた場合、多分ここにいるんだろうなとか、この辺で取るのか、私が取るのか。

habit?

When people are behind, I think they probably are here or they think about taking this neighborhood
耳が聞こえないため、取りに行く相手を決めることが出来なくて衝突しそうになる。

癖なんじゃないかな。

Because I can not hear my ears, I can not decide who I'm going to take and it is likely to collide.

It may be habit

そういことがちょくちょくありますね。

今は多分同じくらいだと思う。

That often happens.

I think that it is about the same now.

ペアが大体決まってたら、この場合だったら行ってくれるなど、、初めに普通の人たちに会った際は、「私は耳が聞こえにくいので」って言ってはいる。

If pairs were roughly decided, in this case you would go

When I first met ordinary people, I said "I am hard to hear."

知らない人と組んだ時は、どう動いてくれるのか分からないし後ろの気配が分からない。

だけど、1 対 1 で喋ったり、電話とかの場合はら全然聞き取りにくさがわからないんだって。

When I've partnered with someone I do not know, I do not know how that person will move.I don’t understand the signs behind.

But, when talking on a one-on-one basis or in the case of a telephone, you do not know how difficult it is to listen.

ーー

ちゃんとしっかり聞こえてると思ってるみたい。

急に目の前に現れて「え！」っていう感じがある 。

It seems that it seems to be heard properly.

Suddenly I was surprised to appear in front of my eyes.

でも、実際に私は聞こえにくい。けど、何回か関わっていると私は耳が聞こえにくい事をみんなが忘れてしまう。

それ、分かってて忍び足で帰ってくる時もある。

But actually, I am hard to hear. However, when involved several times, everyone forgets that my ears are hard to hear.

Sometimes I know it and come back on a sharp leg.

だから、私がとんちんかんな事を言っても聞こえてなくてじゃなくて、天然かなって思われてるかも。

いじわる。

So, even if I say something strange, I do not hear it, maybe I guess it is stupid.

I refuse.

ーーー

突然背後にたってもバレないから、足音さえしなければ台所でトントンしてたらこっちの音で分かるから、、

聴力は関係ないもんね。

Suddenly standing behind does not appear.

Hearing ability does not matter.

こっちに集中してから。そうそうそうそう、

こちらのペアの動きがうまく行くかいかないかは関係あるだろうけど

Yes Yes

Whether or not the movement of this pair goes well may be related

気配を感じないって言うのは、そうだなって思った。
It is convincing that I do not feel a sign

何でコーラスしてるの？

前の物がよくわかる？

Why are you chorusing?

Do you know the previous one?
うん、前に面と向かって喋る場合はもちろん声も聞くけど口元をすごく見る。

なぜ？

Yes.When I talk with my face talking, of course, I also hear my voice, but I look very much at my mouth.

why?

目を見るんじゃなくて口を見る。

それは、片方のみが聞こえた時からコーラスを続けていたし、ハモリの楽しさを知っているから

Seeing your eyes, not seeing your eyes.

It continued the chorus from the time when I heard only one side, because I know the pleasure of harmony.

目を見て話しますしょうではなくて、口元を見て話しましょうってなってる。

ハモリの楽しさってどういうものですか？

I will not talk with my eyes looking at it, but I'm supposed to look at my mouth and talk.

What is the fun of harmony?

補足するんだと思うんですよ。口を開けない人はしんどい。
I can not read a person who can not open my mouth

歌っている時、自分の声は聞こえてないんですよね？

お母さんの大体の愚痴は、あの人の口の開け方がよくない って事が多い。

ハモリの時の楽しさ？ 体に響くことかなぁ。

There are many things that my mother's rough biting is that his mouth is not good.

I wonder if it echoes on my body.

結構多いねぇ「あの人、ずっと同じ口の形で喋るから困るわ。」とかさ。

重なってるってことか

Many, "That person, I will always be in trouble because I talk in the same mouth".

it is resonating

When you are singing, you can not hear your voice, do you?

自分が出してる以外の音は、聞こえるから自分が出してる音と他の音が合わさったハモリが感じる。
かもしれないなぁ。表情が、喋る内容が、て言うよりも口って言うことがあるね。

I hear the sounds other than what I'm outgoing, so I feel the overlap of the sounds I'm producing and other sounds.

It may be. There is something the facial expression talks about, the content to talk than to say.
8 割から 9 割口元見ていますね、人と話す場合は。

山、自体で危ないと思うことは何もない。

When talking with people, 80% to 90% looking at the mouth.

There is no doubt that it is dangerous in mountains.

読書が好きだよね。 音楽よりも読書の方が私が子供のときの印象には残っている。

There was an interesting person who taught nature's play, I closed my eyes and played writing words with birds' barks.

You like reading books, are not you?

子供たちはたくさん書けていたけど、私は書ける数が少なかった。

Reading is more important than music when I was a child.

I have written a lot of children, but I have fewer numbers.

ひょっとしたらそれもあったかもしれない。

聞こえる量が少ないくて悔しい思いをしました。

Might be so.

I regretted having a several amount to hear.

テレビももちろん字幕スーパーが入るようになったから楽だけど、それが入ってる時はしっかり見てないと内容が分かりにくい。

けど、鳴き声などで鳥を知るのが好き。

Of course it's easier to have caption supermarkets on TV, but it's hard to understand if you are not watching it well when it comes in.

But, I like to know birds by crying.

大きな音を出していても顔を下に向けて作業していたら、内容がわかりにくい。

ーーーー

自然の遊びを教えてくれる面白い人がいて、私は目を閉じて鳥の鳴き声を言葉にして書く遊びをしました。

Even though I'm giving out loud sounds, I do not know what I am doing with my face down.
聞き取れてないんだなってのが分かる。

正常の人は聞こえるのかな？分かるのかなあ？

I can see that I can not hear it

Can normal people hear? Do you understand?
でも、私はちょっと聞き取りづらくって危なっかしいところがあったのかもしれない。

コーラスやってるけども、どう言ったらいいかな。
自分の出してる声は聞こえるけれども、自分が大きく声を出すと他の人が出してる音が聞こえづくなるし、特にハミングになると自分の音しか聞こえなくって他の人の声が入らない。
I can hear the voice that I am sending, but it makes it difficult to hear my voice and other voices. Especially when it comes to humming, I hear only my own sound.
だから、もし違う音を出してても自分で直せない。
So, if I give out a different sound I can not fix it.
違うってことが気がつかない。
I can not notice that I am out of the sound
他のハミングじゃない音だったら、出してて他の違う音、ハモる音とかはある程度きこえる。
If it is not another humming sound, I can hear other different sounds and harmonious sounds to a certain extent.
だけど、自分が出してて、そうだなぁ。
But, I was out…I see.
時々違う音出してて平気な時もあるけど、それは聴こえが関係してる。
Sometimes I give out a different sound and it is sometimes fine, but that is related to hearing.
周囲からの音と合ってるか時々分からない時がある。
I sometimes do not know when it matches the surrounding sound.
自分の音は聞こえるの？
Can you hear your own sound?
うん、自分の音は良く聞こえる。
Yeah, I hear my sounds well.
それと同じで食べてる時は、自分が噛んでる音が響いて人の会話が聞こえない。
When I eat it the same, I can not hear the conversation with the sound I chew.
人と喋る場合は食べるのをやめて一生懸命聞く、見る状態になるから食事が遅くなる。
I stop talking to eat when I talk with people, listen hard, I will be in a state of seeing late meals.
大勢いると話が、内容が、聞き取りにくい。
I am hardly able to hear stories and content as people are in plenty.
こっちにに何人かいて、1 人の人が話しての伝達事項がある場合、3 割ぐらいしか聞こえないかな。
If there are some people here and one person is talking, I wonder if I can hear only about 30%.
紙かなんかがあって見ながらだったらいいけど、それも無しで話されたら、困る。
If there is paper or something, it will be saved if it is looking, but if it is not spoken it will be a problem.

But, I may have had a dangerous place to catch up with a bit.

stereo-photograph

Right：Women with healthy ears
Left：Man with hearing loss
Seeing "hearing/not hearing" in 3DCommision Work
《A.L.P.s》
2014

A stranger who had climbed mountains abroad told me that he hadcrossed countries for the routes he wanted to climb. I was so impressedthat I decided to put together a list of mountains seen from countries
surrounding the Alps in Central Europe.

Inkjet-Print
2014
HOTEL ANTEROOM KYOTO
https://www.uds-hotels.com/anteroom/kyoto/

Yuki Moriya
2012 MFA,Kyoto University Of Art & Design
1987 Born in Hokkaido|Selected Solo Exhibitions
2021 walk with serpentO-eyama Art Site,Kyoto

2018 it come down from the mountain Gallery PARC, Kyoto
2015 gone the mountain/turn up the stone Gallery PARC, Kyoto
2010 Other Eye’s |kuniwataru, Gallery i, Kyoto
2010 Untitled | Tokyo Count Down Gallery ,Tokyo|Selected Group Exhibitions
2020 beyond the light-Isa Mitake+Yuki Moriya, KYOTO ART CENTER,Kyoto
2017“7th Dali International Photography Exhibition Asia photo book showcase”
2017 Constellation on the Way to the Future: 9 Newcomers of Art, Craft and Design2016 TOKYO FRONTLINE PHOTO AWARD_NEW VISION#3, G/P Gallery, Tokyo
2015 ULTRA AWARD2015 POST INTERNET ART,University Of Art & Design Galerie Aube, Kyoto
2015 The Catalogue : Workshop Exhibitions by Rinko Kawauchi, @KCUA, Kyoto
2015 TOKYO FRONTLINE PHOTO AWARD_NEW VISION#1, G/P Gallery, Tokyo
2014 KUAD Graduates under 30 Selected, University Of Art & Design Galerie Aube, Kyoto
2013 Myaku Vol.3|Tototo, Gallery PARC, Kyoto
2012 Art In Art _ Between tow-dimensional and three-dimensional, ART ZONE, Kyoto
2011 Media Arts Festival Kyoto Parallel World Kyoto My Parallel World, Gallery PARC, Kyoto|Awards
2019 Encouraging Prize By 1_WALL
2016 Encouraging Prize By 1_WALL