Asuka Nirasawa

Nirasawa decorated African masks (which she bought at the street market in South Africa) with the rhinestones (fake diamonds made in China). Replica masks covered by the replica diamonds: this project is a metaphor of dual fakes/lies. However, we have to think what is the between the truth and the lie? Also, what determines original or the fake? For example, the mask has been used for the rituals, ceremonies in Africa.To wear mask makes people transform beyond human, also give them another personality. Still, certain tribal people in Africa use the exact same style of rituals as a few thousands years ago.The designs and purpose of masks still protected from their own secrets and it is not allowed for them to betray the rules.They never can tell the secret to anybody outside of community. Then, after all, nobody else the truth of the mask could be exposed to, except to tribal people inside a community.What is the way to know the border between truth or lie about the informations and knowledge of the masks: what we could see in the museum or in books is ambiguous? Unfortunately it is impossible for us to know what is the truth of the masks.Actually all literature about masks were written by the people outside of the original community so far. Is it too much to say that nobody could know the values of the original masks from Africa except African tribal people? Picasso stole designs from the style of African art. He admitted it himself actually. He represented the designs to the world. The rich culture from Africa has mostly been represented through the context of Western culture, so far. Even more, the African design that we see nowadays, has already degenerated into other things not original to Africa. Sometimes lies turn into the truth for long years. Also, the truth turn into lies. These lie and truth accumulations create history. The interaction between truth and lie will enrich your body and soul in your later life.Throughout time, context has been the most important aspect of art work; not the intrinsic value of the original object or even the fake material or the fake concept used to create it.

Nirasawa decorated African masks (which she bought at the street market in South Africa) with the rhinestones (fake diamonds made in China). Replica masks covered by the replica diamonds: this project is a metaphor of dual fakes/lies. However, we have to think what is the between the truth and the lie? Also, what determines original or the fake? For example, the mask has been used for the rituals, ceremonies in Africa.To wear mask makes people transform beyond human, also give them another personality. Still, certain tribal people in Africa use the exact same style of rituals as a few thousands years ago.The designs and purpose of masks still protected from their own secrets and it is not allowed for them to betray the rules.They never can tell the secret to anybody outside of community. Then, after all, nobody else the truth of the mask could be exposed to, except to tribal people inside a community.What is the way to know the border between truth or lie about the informations and knowledge of the masks: what we could see in the museum or in books is ambiguous? Unfortunately it is impossible for us to know what is the truth of the masks.Actually all literature about masks were written by the people outside of the original community so far. Is it too much to say that nobody could know the values of the original masks from Africa except African tribal people? Picasso stole designs from the style of African art. He admitted it himself actually. He represented the designs to the world. The rich culture from Africa has mostly been represented through the context of Western culture, so far. Even more, the African design that we see nowadays, has already degenerated into other things not original to Africa. Sometimes lies turn into the truth for long years. Also, the truth turn into lies. These lie and truth accumulations create history. The interaction between truth and lie will enrich your body and soul in your later life.Throughout time, context has been the most important aspect of art work; not the intrinsic value of the original object or even the fake material or the fake concept used to create it.

Nirasawa decorated African masks (which she bought at the street market in South Africa) with the rhinestones (fake diamonds made in China). Replica masks covered by the replica diamonds: this project is a metaphor of dual fakes/lies. However, we have to think what is the between the truth and the lie? Also, what determines original or the fake? For example, the mask has been used for the rituals, ceremonies in Africa.To wear mask makes people transform beyond human, also give them another personality. Still, certain tribal people in Africa use the exact same style of rituals as a few thousands years ago.The designs and purpose of masks still protected from their own secrets and it is not allowed for them to betray the rules.They never can tell the secret to anybody outside of community. Then, after all, nobody else the truth of the mask could be exposed to, except to tribal people inside a community.What is the way to know the border between truth or lie about the informations and knowledge of the masks: what we could see in the museum or in books is ambiguous? Unfortunately it is impossible for us to know what is the truth of the masks.Actually all literature about masks were written by the people outside of the original community so far. Is it too much to say that nobody could know the values of the original masks from Africa except African tribal people? Picasso stole designs from the style of African art. He admitted it himself actually. He represented the designs to the world. The rich culture from Africa has mostly been represented through the context of Western culture, so far. Even more, the African design that we see nowadays, has already degenerated into other things not original to Africa. Sometimes lies turn into the truth for long years. Also, the truth turn into lies. These lie and truth accumulations create history. The interaction between truth and lie will enrich your body and soul in your later life.Throughout time, context has been the most important aspect of art work; not the intrinsic value of the original object or even the fake material or the fake concept used to create it.

Nirasawa decorated African masks (which she bought at the street market in South Africa) with the rhinestones (fake diamonds made in China). Replica masks covered by the replica diamonds: this project is a metaphor of dual fakes/lies. However, we have to think what is the between the truth and the lie? Also, what determines original or the fake? For example, the mask has been used for the rituals, ceremonies in Africa.To wear mask makes people transform beyond human, also give them another personality. Still, certain tribal people in Africa use the exact same style of rituals as a few thousands years ago.The designs and purpose of masks still protected from their own secrets and it is not allowed for them to betray the rules.They never can tell the secret to anybody outside of community. Then, after all, nobody else the truth of the mask could be exposed to, except to tribal people inside a community.What is the way to know the border between truth or lie about the informations and knowledge of the masks: what we could see in the museum or in books is ambiguous? Unfortunately it is impossible for us to know what is the truth of the masks.Actually all literature about masks were written by the people outside of the original community so far. Is it too much to say that nobody could know the values of the original masks from Africa except African tribal people? Picasso stole designs from the style of African art. He admitted it himself actually. He represented the designs to the world. The rich culture from Africa has mostly been represented through the context of Western culture, so far. Even more, the African design that we see nowadays, has already degenerated into other things not original to Africa. Sometimes lies turn into the truth for long years. Also, the truth turn into lies. These lie and truth accumulations create history. The interaction between truth and lie will enrich your body and soul in your later life.Throughout time, context has been the most important aspect of art work; not the intrinsic value of the original object or even the fake material or the fake concept used to create it.

Hair has mystic qualities and symbolism in many cultures. Nirasawa did by unifying the cushions with African fabrics in a perpetually moving organism with hair. Imagine the hair of the dead or of dolls growing - a transcendent link between the world of the dead and the living.This is why hair has a special place in tribal culture - it gives life to masks. Hair is a special part of the human body and a means of expressing individualism - each cushion is unique, with hair of subtly different colors and curls. Immediately after combining the unique cushions and the hair, the work transformed into the expression of ritual with the solemnity of the history of human beings.

These large scale works showcase two perspectives of a microscopic view of cells where one is of the original conglomerate of cells and is made up of thousands of dots meticulously hand-painted onto a canvas. The other, comprised of Shwe Shwe fabric that has been cut into circular shapes and placed in a collage, represents a closer, ‘zoomed in’ perspective of the original cells created through paint in the first work. The artist found inspiration from Erwin Schrodinger’s What Is Life, 1994, Nirasawa has manifested a visual experience of Schrodinger’s concept “order-within-disorder” which communicates the chaotic nature of the biological process resulting in harmonized constructed organism in perpetual dynamism. The Cell Division series articulates this through the ever-expanding sense of cells spreading across the canvas but in a calculated manner. An interesting look into how the events in time and space occur within a living organism, such as the cells within our very being. Further unpacking Schrodinger’s writings in relation to Nirasawa’s works there lies a philosophical representation of these growing and moving cells as consciousness: a space of controlled chaos within beings, ceaselessly growing, changing and living in relation to it’s surround stimuli. Nirawasa quite aptly visually depicts this notion more refined in Schrodinger’s quote “ ‘I’ is not a collection of experienced events but namely the canvas upon which they are collected.” Each being, each “I”, a surface onto which beautiful chaos of relative consciousness lives.

These large scale works showcase two perspectives of a microscopic view of cells where one is of the original conglomerate of cells and is made up of thousands of dots meticulously hand-painted onto a canvas. The other, comprised of Shwe Shwe fabric that has been cut into circular shapes and placed in a collage, represents a closer, ‘zoomed in’ perspective of the original cells created through paint in the first work. The artist found inspiration from Erwin Schrodinger’s What Is Life, 1994, Nirasawa has manifested a visual experience of Schrodinger’s concept “order-within-disorder” which communicates the chaotic nature of the biological process resulting in harmonized constructed organism in perpetual dynamism. The Cell Division series articulates this through the ever-expanding sense of cells spreading across the canvas but in a calculated manner. An interesting look into how the events in time and space occur within a living organism, such as the cells within our very being. Further unpacking Schrodinger’s writings in relation to Nirasawa’s works there lies a philosophical representation of these growing and moving cells as consciousness: a space of controlled chaos within beings, ceaselessly growing, changing and living in relation to it’s surround stimuli. Nirawasa quite aptly visually depicts this notion more refined in Schrodinger’s quote “ ‘I’ is not a collection of experienced events but namely the canvas upon which they are collected.” Each being, each “I”, a surface onto which beautiful chaos of relative consciousness lives.

Synchronicity ; the word that defines “meaningful coincidences” was introduced by psychiatrist Carl Jung(1875-1961). Jung coined the word "synchronicity" to describe "temporally coincident occurrences of acausal events." Jung became convinced that everything in the universe is intimately connected, and that suggested to him that there must exist a collective unconscious of humankind. The Synchronicity series consists of three works subtitled as Time1, Time2 and Time3. Each work represents a random image at a specific point in time. Nirasawa believes that the combinations will form different images in the mind of each viewer. Sometimes the coincidental combination of random images resolves its own contradictions to reveal an unexpected connection, image, emotion or harmony. Her works aim to reveal the parts of reality that may not be initially obvious. In the Synchronicity series there are various motives in the pictures including a lure fish, tomato can, insects, plants, eye balls, etc… These random motives, composed disorderly, initially give us the perception of creepy-ness and non-sense. However, some images became synchronized and harmonized on the resultant picture, when the thin lines were added. We end up creating something that doesn’t look anything like the image we had thought it would be, but perfectly resembles the image we had now, ourselves, formed and chosen in our sub-conscious. We create our own mental impressions of images based on our past personal experiences. The process of creating a piece of art, of creating a tangible version of our thoughts and emotions, often involves moving back and forth between the conscious and sub-conscious. The result is an artwork unique to each viewer, created in the subconscious, by each person’s own perception of images and emotions in his or her life.

Synchronicity ; the word that defines “meaningful coincidences” was introduced by psychiatrist Carl Jung(1875-1961). Jung coined the word "synchronicity" to describe "temporally coincident occurrences of acausal events." Jung became convinced that everything in the universe is intimately connected, and that suggested to him that there must exist a collective unconscious of humankind. The Synchronicity series consists of three works subtitled as Time1, Time2 and Time3. Each work represents a random image at a specific point in time. Nirasawa believes that the combinations will form different images in the mind of each viewer. Sometimes the coincidental combination of random images resolves its own contradictions to reveal an unexpected connection, image, emotion or harmony. Her works aim to reveal the parts of reality that may not be initially obvious. In the Synchronicity series there are various motives in the pictures including a lure fish, tomato can, insects, plants, eye balls, etc… These random motives, composed disorderly, initially give us the perception of creepy-ness and non-sense. However, some images became synchronized and harmonized on the resultant picture, when the thin lines were added. We end up creating something that doesn’t look anything like the image we had thought it would be, but perfectly resembles the image we had now, ourselves, formed and chosen in our sub-conscious. We create our own mental impressions of images based on our past personal experiences. The process of creating a piece of art, of creating a tangible version of our thoughts and emotions, often involves moving back and forth between the conscious and sub-conscious. The result is an artwork unique to each viewer, created in the subconscious, by each person’s own perception of images and emotions in his or her life.

Synchronicity ; the word that defines “meaningful coincidences” was introduced by psychiatrist Carl Jung(1875-1961). Jung coined the word "synchronicity" to describe "temporally coincident occurrences of acausal events." Jung became convinced that everything in the universe is intimately connected, and that suggested to him that there must exist a collective unconscious of humankind. The Synchronicity series consists of three works subtitled as Time1, Time2 and Time3. Each work represents a random image at a specific point in time. Nirasawa believes that the combinations will form different images in the mind of each viewer. Sometimes the coincidental combination of random images resolves its own contradictions to reveal an unexpected connection, image, emotion or harmony. Her works aim to reveal the parts of reality that may not be initially obvious. In the Synchronicity series there are various motives in the pictures including a lure fish, tomato can, insects, plants, eye balls, etc… These random motives, composed disorderly, initially give us the perception of creepy-ness and non-sense. However, some images became synchronized and harmonized on the resultant picture, when the thin lines were added. We end up creating something that doesn’t look anything like the image we had thought it would be, but perfectly resembles the image we had now, ourselves, formed and chosen in our sub-conscious. We create our own mental impressions of images based on our past personal experiences. The process of creating a piece of art, of creating a tangible version of our thoughts and emotions, often involves moving back and forth between the conscious and sub-conscious. The result is an artwork unique to each viewer, created in the subconscious, by each person’s own perception of images and emotions in his or her life.

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. The exhibition focused on her interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the each pieces and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire work itself becomes outer space like a universe”

It is the contrast between the vibrant colourful tones and the patterns that Nirasawa finds movement relative to the quiet immobility in the fabric, where the fabric has a life of its own. Nirasawa explains how “African fabrics exude pleasure and respect for life through both a sense of peace and exuberant dynamism”. Nirasawa chose African fabrics printed with circular motifs which acted as metaphors for the universe, cells and eternal life. She is interest in the notions of chaos and silence and the adoration of life and death, all coming together in an aspirational dream scene of the imaginary universe she seeks. Nirasawa says “First of all, intense colours jump in front of our eyes. And the line of sight begins with an aggregation of small circles which are translucent and swollen like cells, and it will be guided to a circle of African colours that will soon go crazy. Then it leads to the whole space and headed for the swell of energy. Ultimately, once again returning to fine cells, the entire room becomes outer space”

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

Nirasawa created an actual room which was upholstered entirely with African clothes with printed circular motives: the walls, ground and ceiling. She photographed 16 Bag Factory artists as models in this space. Thereafter, she added the images of circles and cells on the skin, body, face, hands and clothes of the models using a combination of hand-drawing with acrylic and the computer graphics. The models and motives are blending with the surroundings and disappear in the room however it also harmonizes oddly in silence.

The epidermis of organisms are discolored and assimilated into the color pattern of the background room. It is a mystery whether the animals were enlarged or trapped in a small room. Plump-like grains on the surface metaphorise eggs for the poikilothermic animals. An elephant is mythically decorated. Elsewhere, the grains create a new layer partially obscuring the space like a drawn ethereal curtain. The viewer can not enter the room. Living things draw us to touch, but here a barrier separates us from this virtual world. These five animals have been treated as symbols in Western and Oriental mythology since ancient times. It was sometimes regarded as a prototype of the human spiritual world and was used for religion, rituals, proverbs and as evil or sacred. In the title of the work Nirasawa borrowed the concept from Charles Robert Darwin "origin of species”, then she added the word “virtual”. An organism changes its property according to the environmental change. Only the species adapted to the environment survives. In other words, we won’t be able to "choose nature" but we will be chosen by nature. A real room image and a virtual creature image are intertwined. Like modern society, the virtual space and the real world mixes and is trapped in a box. We immerse ourselves into social media on a daily basis and adapt to the environment without being able to clearly perceive the boundary between virtual and reality. Which of us will be selected by the environment? We will continue to respond to changes in order to preserve our species and we will assimilate into the environment in future, like these virtual five creatures.

The epidermis of organisms are discolored and assimilated into the color pattern of the background room. It is a mystery whether the animals were enlarged or trapped in a small room. Plump-like grains on the surface metaphorise eggs for the poikilothermic animals. An elephant is mythically decorated. Elsewhere, the grains create a new layer partially obscuring the space like a drawn ethereal curtain. The viewer can not enter the room. Living things draw us to touch, but here a barrier separates us from this virtual world. These five animals have been treated as symbols in Western and Oriental mythology since ancient times. It was sometimes regarded as a prototype of the human spiritual world and was used for religion, rituals, proverbs and as evil or sacred. In the title of the work Nirasawa borrowed the concept from Charles Robert Darwin "origin of species”, then she added the word “virtual”. An organism changes its property according to the environmental change. Only the species adapted to the environment survives. In other words, we won’t be able to "choose nature" but we will be chosen by nature. A real room image and a virtual creature image are intertwined. Like modern society, the virtual space and the real world mixes and is trapped in a box. We immerse ourselves into social media on a daily basis and adapt to the environment without being able to clearly perceive the boundary between virtual and reality. Which of us will be selected by the environment? We will continue to respond to changes in order to preserve our species and we will assimilate into the environment in future, like these virtual five creatures.

The epidermis of organisms are discolored and assimilated into the color pattern of the background room. It is a mystery whether the animals were enlarged or trapped in a small room. Plump-like grains on the surface metaphorise eggs for the poikilothermic animals. An elephant is mythically decorated. Elsewhere, the grains create a new layer partially obscuring the space like a drawn ethereal curtain. The viewer can not enter the room. Living things draw us to touch, but here a barrier separates us from this virtual world. These five animals have been treated as symbols in Western and Oriental mythology since ancient times. It was sometimes regarded as a prototype of the human spiritual world and was used for religion, rituals, proverbs and as evil or sacred. In the title of the work Nirasawa borrowed the concept from Charles Robert Darwin "origin of species”, then she added the word “virtual”. An organism changes its property according to the environmental change. Only the species adapted to the environment survives. In other words, we won’t be able to "choose nature" but we will be chosen by nature. A real room image and a virtual creature image are intertwined. Like modern society, the virtual space and the real world mixes and is trapped in a box. We immerse ourselves into social media on a daily basis and adapt to the environment without being able to clearly perceive the boundary between virtual and reality. Which of us will be selected by the environment? We will continue to respond to changes in order to preserve our species and we will assimilate into the environment in future, like these virtual five creatures.

The epidermis of organisms are discolored and assimilated into the color pattern of the background room. It is a mystery whether the animals were enlarged or trapped in a small room. Plump-like grains on the surface metaphorise eggs for the poikilothermic animals. An elephant is mythically decorated. Elsewhere, the grains create a new layer partially obscuring the space like a drawn ethereal curtain. The viewer can not enter the room. Living things draw us to touch, but here a barrier separates us from this virtual world. These five animals have been treated as symbols in Western and Oriental mythology since ancient times. It was sometimes regarded as a prototype of the human spiritual world and was used for religion, rituals, proverbs and as evil or sacred. In the title of the work Nirasawa borrowed the concept from Charles Robert Darwin "origin of species”, then she added the word “virtual”. An organism changes its property according to the environmental change. Only the species adapted to the environment survives. In other words, we won’t be able to "choose nature" but we will be chosen by nature. A real room image and a virtual creature image are intertwined. Like modern society, the virtual space and the real world mixes and is trapped in a box. We immerse ourselves into social media on a daily basis and adapt to the environment without being able to clearly perceive the boundary between virtual and reality. Which of us will be selected by the environment? We will continue to respond to changes in order to preserve our species and we will assimilate into the environment in future, like these virtual five creatures.

The epidermis of organisms are discolored and assimilated into the color pattern of the background room. It is a mystery whether the animals were enlarged or trapped in a small room. Plump-like grains on the surface metaphorise eggs for the poikilothermic animals. An elephant is mythically decorated. Elsewhere, the grains create a new layer partially obscuring the space like a drawn ethereal curtain. The viewer can not enter the room. Living things draw us to touch, but here a barrier separates us from this virtual world. These five animals have been treated as symbols in Western and Oriental mythology since ancient times. It was sometimes regarded as a prototype of the human spiritual world and was used for religion, rituals, proverbs and as evil or sacred. In the title of the work Nirasawa borrowed the concept from Charles Robert Darwin "origin of species”, then she added the word “virtual”. An organism changes its property according to the environmental change. Only the species adapted to the environment survives. In other words, we won’t be able to "choose nature" but we will be chosen by nature. A real room image and a virtual creature image are intertwined. Like modern society, the virtual space and the real world mixes and is trapped in a box. We immerse ourselves into social media on a daily basis and adapt to the environment without being able to clearly perceive the boundary between virtual and reality. Which of us will be selected by the environment? We will continue to respond to changes in order to preserve our species and we will assimilate into the environment in future, like these virtual five creatures.