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In my recent series of works, I examine forms which express a sense of being in opposition with each other. These are, for instance, 'gentleness & toughness', 'acceptance & refusal', 'growth & stillness' and so on. I intend to create a primary or neutral image by expressing these opposing elements at the same time.

When fibres construct forms, two different streams of energy are involved. One proceeds internally. Fibres interlink with each other and multiply in strength. At the same time, it also stretches out into external space. Fibre extends surfaces and incorporates space with its volume. It is similar to what we see in nature. The pattern of branching in the veins of a leaf may reveal something about the plant's history.

In this exhibition, I would like to focus on the forms that can give viewers an idea of the process of slow growing (growth with stillness). It is part of my ongoing project of 'seeking a primary image'. It is like going deeply down into one's original scenery. It may not belong to any particular culture by its appearance, but is definitely a core element of one's culture.

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When memories are recalled and/or re-confirmed, all sorts of sensuous elements are involved. Impressions are reconstructed as the sense of touch, temperature etc, or as perceptions which complicate those senses, and they are stored and accumulated within our memory. We are searching these stores, keen to examine fragments of recollections and using our imagination while we meet incidents. Then we store new collections and links within our recollections are rearranged.

However I sometimes meet something with which I feel so familiar and seem to carry an enormous understanding of. It's definitely not stored in my memories, but I can intuitively accept it without confirmation or definition. All my activated senses amplify some kind of primary images.

Culture, which is cultivated during the passage of a tremendous amount of time, might be gifted into everyone's memory store when we're born. It is like adoring the emptiness of space. These meetings, impression or pain can not be captured, held or translated into forms or words. However, it 'exists' more than anything. It is extraordinarily ambiguous and certain at the same time.

This is the area in which I think art plays it's greatest role - devoting its energy to amplify the primary images. Artists endeavour to create what can't be visualised and make an effort to express what can't be worded. I, as an artist, would like to look at each element of these precious experiences carefully and quietly.

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The oldest examples of textiles in Japan are preserved in Syosoin Treasure House at Todai-ji and Horyu-ji Treasure House. A colourful silk ikat named Taishikando that belongs to the Asuka period, A. D. 552-644 is also preserved there. As with other treasures there, it is said that the cloth was produced in India and brought to Japan via the 'Silk Road'. The Taishikando, a tribute from the Chinese Empire in the 7th century, has been preserved in the Treasure Houses although it didn't enlighten Japanese weaving culture until much later. It was after centuries that ikat was appreciated by Japanese people. By contrast, this time ikat was brought to Japan by a current from the Southern islands.

The journey of the ikat begins in India. A lady wearing ikat cloth is seen in the wall painting in the Ajanta caves. A trace of the journey that ikat took to Southeastern Asia, flowered in every place it arrived, influenced by locally developed techniques and designs.

After a long journey, ikat was introduced in the14th or 15th century to the Ryukyu Kingdom, the southernmost islands of Japan in the tropical latitudes of what is now the Okinawa Prefecture. Ryukyu was a nation in its own right, attempting to be a bridge between all Asian nations, emphasizing its own philosophy of peace. It was a prosperous time, when trade was flourishing in the East and South China Sea.

Ikat, a gift to the Sho Royal Family of the Ryukyu Kingdom, came possibly from Java, Malacca or Thailand, perhaps via Southern China, or from other Indonesian islands. This time, ikat was not kept only in the Royal Palace. Even though it was a late arrival, the Ryukyuans developed ikat, somewhat remarkably creating over 300 different individual designs, with the applications being countless. Okinawa consists of some 200 islands. Each island historically ripened into its own particular culture, which included that of weaving. Local weaving such as Ryukyu indigo ikat, Yontanza hanaori, basho-fu (banana fibre cloth), Miyako jofu, Yaeyama jofu, Kumejima tsumugi - all are valued as luxury fabrics nowadays.

Yaeyama jofu, choma (ramie) ikat was produced in the Yaeyama Islands, and represents one of those sophisticated cool elegant elements of Ryukyu kasuri. The significant characteristics are its refreshing white colour - the so called 'White Ikat' - along with the moderate ikat pattern that sets it off. With other bast fiber fabrics like basho-fu, it has long been favored because of its airiness, and its smooth crisp surface. It does not stick to the skin in hot weather, making it perfectly suited to the hot Okinawan climate.

As happened to other ikats produced in Kume-jima and Miyako-jima, Yaeyama jofu was collected as a levy and made exclusively for the Royal Family. Adding to this, after the Shimazu clan from Kyusyu invaded Ryukyu in the17th century, the area was ruled under the Japanese feudal system. All woman between the ages of 15 and 50 had to weave ikat for taxes to be paid to the Shimazu. This lasted for over 200 years until textile taxes were abolished in 1903. They had to work under the Shimazu's constant supervision and the inspection of ikat's quality was unimaginably strict. '20 yomi jofu', the number usually indicating the fineness of the silk weaving, is written in the records of the Yaeyama local office. The fabric was described 'as like cicada's wings'.

Okinawans have their own distinctive music, unique languages and strong traditions. They have maintained their love of singing and dancing, even while living under conditions of much suffering. Each time after the people in Yaeyama Islands completed their joint responsibilities on taxes, they (especially the women) celebrated with dancing and singing. Many songs about weaving have been handed down from this period. The lyrics and the tunes are beautiful and sad, but they are also powerful. 'Life is the treasure", as one Okinawan beautiful expresses their rich inherited culture.

I visited Taketomi island in Yaeyama in 1985, and went back for the Tanetori-sai (the festival praying for a good harvest) in 1986. It is a small island, full of cultural delights, yet with a perimeter of only 9.2km. The main road from the pier to the center of the island was covered by white coral-bones. It was dazzling white under the tropical sunshine. As I walked, seeing the houses roofed with red tiles and surrounded by coral-stone walls, the sound of weaving was heard. A lady who I visited, had just cut a cloth from the loom. She was coming out, dancing while holding the cloth in her hands.

I also had an unforgettable talk with Mr Uesedo who manages 'Kihoin Syusyukan', the museum that - although small - is rich with content. He earnestly told me about Taketomi culture and the importance of keeping it alive. He said, "We have basho fields but they haven't been looked after because we are short of hands. Come and stay at the island. My wife can teach you basho weaving, if you can help us, "I'm now finally planning to go back to Taketomi.

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