Smooth kiwi fruit. Roughly textured chunks of papaya, cut into several parts and assembled. Loquat, barely distinguishable by the shape of the calyx, were dotted around the plate on which the kiwis and papayas were served.... Although a weak light from the left side makes the outline of the objects on the table in the foreground of the picture emerge faintly, the still life, whose reality has been intentionally removed from the objects, is captured in a white frame. Eventually, a gradual change occurs within the picture. The still life collapses in the echoes of the sound of a fly's wings, which are like a bass continuo-like vibrating sound. Imitation flies and live flies, and the change in light, a key factor, evoke an awareness of space. The photographs were shot at intervals of 30 minutes for two months, and as a result, the layering of these photographs creates a chain of gradual movement and time. The movement and time produced by the photographic layering adds three and four dimensions to the image, and brings our consciousness back to two dimensions. Five large and small glass jars containing fruit which continue to decay even after the time of the photograph sit on a shelf attached to the wall nearby to carcasses of flies whose outer skins have faded in the sun. The objects have a materiality and a realism to them, but the work as a whole is as close to a painting installation as possible. In contrast to her previous work, "Decaying", the narrative elements have been restrained and the visualization of movement has been reduced to a minimum, so that the viewer does not feel a sense of disconnection from the repetitive images, and her intentions are more effectively expressed in the work. The fuzziness and ambiguity that lies at the boundary between real and virtual, between motion and stillness, between life and death, or in space and time itself, reveal the essence of existence, and the resulting discomfort strangely coexists in her work.

つるりとした質感をもつキウイ。ざらざらとした質感のパパイヤの塊はいくつかのパートに切断して組み合わされている。蔕の形状によりかろうじて判別可能なびわはそれらキウイやパパイヤが盛られた皿を囲むように点々と置かれている・・・。左真横からの弱々しい光が、画面手前のテーブルに置かれたものの輪郭を微かに浮かび上がらせてはいるものの、意図的に対象から実体感が取り除かれた絵画的な静物が、白いフレームに収められている。やがて画面内で少しずつ異変が生じる。通奏低音の如き振動音のような蠅の羽音の反響のなか、崩れていく静物。模造の蠅と生ける蠅、そして決定的な要因である光の変化が、空間への意識を呼び起こす。撮影は三十分ごとの間隔で二ヶ月間続けられ、その結果、それらの写真の積層は、緩やかな動きと時間の連鎖を生みだす。その写真の積層によって生み出された動きと時間が、映像として、三次元および四次元性を付加しつつ、再び私たちの意識を二次元へと呼び戻す。壁面に据え付けられた棚には、撮影時を過ぎてなお朽ち続ける果実と、外皮が脱色した蠅の死骸が収められた大小五つのガラス瓶が並ぶ。それらオブジェクトには物質性と現実性が見られるが、作品全体としては、限りなく絵画としてのインスタレーションに近い。前作の＜朽“Decaying"＞から物語的な要素が抑えられ、歌詞かされる動きが極小になることで、反復されるイメージに断絶感を与えず、挿入された小瀬村真美の作意がより効果的に現出した感がある。実像と虚像の間の、動と静の、生と死の、空間の、時間の、境界に潜む曖昧性や両義性が、存在の本質を炙り出し、そして、そのことの心地悪さというものが奇妙に共存しているような世界である。