YUSAIFU is composed of two elements. The two dimensional pieces are layers of painted and printed silk and dyed paper. The layers are pasted together to achieve a richness of color created by the union of the dyed paper with the translucent, painted silk. On the three dimensional pieces, these effects are shown separately on each side of the panel by letting the composition float in the air. When light passes through the layers, it activates all elements of the work. It brings out the depth of color on the painted silk side and the more subtle color gradations, softened by the veil of silk, and the agitating black/white contrast on the printed silk side. The layers of the composition create an interplay between space and light, two dimensional image and three dimensional form. When a performance is accompanied with YUSAIFU, the shadows of the moving dancers and the swings of the panels amplify lively effect adding the forth dimension, time.

I call the state which lies right on the edge of the turning points from two dimensions to three dimensions (recognition of space), and from three dimensions to four dimensions (recognition of time) “space of a moment”. YUSAIFU visualizes this “space of a moment” by creating an interplay among space, light and time -  two dimensional image, three dimensional form and passing of time.

The animating effect, which YUSAIFU generates in space, is the state where all living things perceive the sensation of being alive. This perception courses through motions, gestures through one’s senses, opens up space to a time before conscience. Beyond thought, this feeling of open space is entwined with the experience of the earth, of forms and of nature, with neither contradiction nor duality. Through this connection between consciousness and nature, the force penetrates a substance and sets it to motion. In spite of the world¹s imperfection, the force is always born, experienced and transmitted in the “space of a moment”.

The spectators are guided to the motion of the work by the flow of wood-grain itself, the movement of the image represented, the bustle of visible woodcarving and the actual movement of the dancers. If the spectators join in between the two, light and dark, tranquility and agitation, they are in the “space of a moment” in which contradiction is transformed into paradox. The visualization of the “space of a moment” traces its way back through the motion in work to the origin of existence, which belongs to both life and death.