Mr Jizolark’s concrete data developed, after a year of living in a beach shack, with an island community, in the Seto Inland Sea, Japan, in 2016. Conspicuously present in this work is the human absence. We can appreciate the poetic narrative, documented in the futile process, of ‘collecting’ castoffs and found in the foreign re-positioned constructs. The opportunity to collate object, image and cultural artefact – found on my daily walks on the beaches reflects a composite history that is both private and public.
The benefits of seclusion gave me insight into the processes of letting go, something antithetical to the notion of collection, with its emphasis on accumulation and holding onto rather than surrendering. Mr Jizolark considers objects, reclaims and displays them but remains free of any attachment to them. They are given a fresh purpose by arranging them on a stage in order to respond to the sacred ritual of showing and seeing. Left only with the impression, the action of being present, observing and contemplating these objects, makes them remarkable.
In the material there is a preference for the forgotten, the broken or the used. A powerful tendency to search for materials marked by layers of lost time. I set out to investigate these consumer relics. I also considered the Japanese notion of ‘mono no aware’. The object is valued for its rich simplicity, combined with a feeling of empathy, while paradoxically seeing it as ultimately ungraspable – see as only fragments.