With "Transient Encounter" as its theme, the exhibit is a group exhibit by artists who possess a sensitivity toward the invisible and a gaze toward things that are always undergoing change, including history, time, memory, signs, and scenes. While working in different areas and media, these artists hold a shared perspective. The act of taking a view along a wide timeline and attempting to scoop up what manifests on the line, while connecting the dots by a fine thread, is a temporary encounter with a certain moment. Considerations of ways of existing and ways of involvement, for things that transcend a peculiar history and culture. These works ask us to understand things in their complexity without simplification, taking a piercingly keen perspective at times, while clad in brittleness and transitoriness. Gazing upon works that temporarily meet and interact in the gallery space, what can the viewer feel?

[Artists]

Alana Wilson's ceramics seem to have been created by the sedimentation of time. They had survived the cataclysms of human history and, both fragile and powerful, are seeking their path in the world of today and tomorrow. The primary function of the container is never directly affirmed, maintaining a metaphorical use of form and material. The patent hand marks suggest a form of continuity with the long history of ceramic practices. Behind the apparent neutrality of these objects lies an embodied vision of the links between humans and their environment. On view in this exhibition is a video work, "Think Of All The Threads That Bind Us," created in 2017.

Yu Uno creates works that highlight the fragility of ceramics, with a focus on cracks, chips, and breakages. "Landscapes of Memories Not to be Forgotten," which includes the personal experiences and emotions of the artist depicted through ceramic techniques and materials, embodying a paradox whereby ceramics disintegrate and scatter during the process of attempting to carefully preserve them. Through this, the artist prompts viewers to contemplate the existence of objects and how they are preserved. While the works contain pictorial elements, their essence transcends the depicted subjects, inviting a broad interpretation by connecting viewers with the deep history of ceramics.

Ceramicist Midori Uchida studies clay firing techniques and explores the interplay between natural phenomenon-driven coincidence and intentional expressions. By focusing on the act of firing as the main subject matter, Uchida draws forth charming coincidences through personal intent. Uchida's steadfast gaze imbues her artworks with a robust assurance, affirming the world's beauty through harmonious coexistence with nature.

Satoshi Someya focuses on decorative practices in Japanese lacquer art, interpreting designs related to lacquer from his own perspective and applying them to various series of works. The "Mishiki" Vessel for Landscape series, which will be exhibited in this exhibition, involves creating vessels for objects such as branches and stones picked up subjectively by the artist. These vessels, made of lacquer, a material with a long history and cultural background, remain semi-permanently while the subjects they contain will eventually decay, transform, and disappear. Within the humorous forms of the artwork, one can get a glimpse of the artist's profound perspective on human in handicrafts and their artworks, as well as narratives and landscapes extending into both the past and the future.

Reiko Kinoshita's paintings are created by spraying misty paint from a spray gun onto a support material that has irreversible phenomena such as light sensitivity of printing paper due to sunlight, paper discoloration, wrinkles, and creases. Her works consistently focus on "time" as a theme, questioning whether it is possible to capture the passage of fleeting time in a painting. Through her art, Kinoshita carefully lifts the traces of trivial everyday events and elevates them to beauty with a precious gaze. The new works presented in this exhibition, in contrast to the monochromatic world of her recent works, evoke encounters with the fleeting beauty hidden in the world with bright, light tones.

Shinpei Yoshida makes found-photo portraits inspired by the private experience of losing his grandmother. The portraits, painted with memories of a life that existed somewhere, someone's gaze, and voiceless words, wear a veil of serenity on the surface, poetically maintaining a sense of distance, and touching each viewer's " someone's image that is close to them". When the gaze of the unknown is connected to a piece of your own memory that no one else can know, you will be reminded once again of the importance of the existence of distant memories that have been forgotten, and of the existence of the small scenery that does not remain in history.