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   In my early works, books discarded from the library and recorded stories such as diaries were mainly used, or the ‘process of recording’ things that could not be recorded and disappeared became work itself. Considering myself as a librarian of oblivion, I collected processes of erasing and pieced them together as linking their time by creating ‘a lump with layers’, which then became my library. 

   In 2019, when working on The Land of the Glitches, 2019 as an observer somewhat distant from the record, I accidentally discovered a part of someone's letter while cutting (which I considered equivalent as drilling strata) discarded books.

   This piece of record, not even known to whom it was for, raised questions about whether the recipient of the letter inadvertently left it in the book and forgot, or whether it was a letter that one could not send because of worry. The works about being destroyed or layered were an attempt to show the "disappeared space" itself; after that, I became interested in the stories that were newly growing in the lost place where some clues remained. And several physical separations including death and breakups that I personally experienced during this period made me want to reopen the page on the surface of the book that I had kept closed. Escaping from the early works that began with the habit of concealing records, this period served as an opportunity to accept that the pages I tried to cover with shame were shining as ‘incomplete chronicles’ in themselves.

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