positive type
"ART-MOVE 1987" exhibition
Okurayama Memorial Hall, Yokohama, Japan
Aug.1- 7, 1987
I amplify water, water amplify me,and even the obstinate objects in our surroundings begin to quiver.
A 'Soft device' inviting waves on the water

Mokoto Murata
Art Jounalist

The Water Mirror in the frontyard, namely "positive type" had the function of projecting the water wave occuring in the actual Water Mirror onto the surrounding building. In other words, it gives the building itself a "wavering efect" from the outside. The Water Mirror became larger in size in order to make the "wavering effect" larger in size.
Notes on "Water Mirror"---No.1
Ichi Ikeda

┼˙<Water Mirror> is different from │dead water▓ in a container separated from the spectacle of nature where it originally belongs to. The │liberated water▓ symbolizes │freedom▓ in general.
┼˙ It is a │vital surface▓ of deep breathing water, which is ever lasting and variable living force.
┼˙ <Water Mirror> echoes with very gentle and slight expressions of nature such as breezes, casting of a leaf, and fluttering of a bird. Unlike ordinary mirrors which can only reflect the physical nature of an exist-ence, the <Water Mirror> reflects its surroundings, movements and depths of existences, and how it extends and relates each other.
┼˙ In a city environment where everything is lined up only as an abstract symbol, and cannot have its specific way of breathing, the <Water Mirror> echoes with living cycles of the nature and introduces the │fertile breaths▓.
┼˙ We tend to forget benefits and amazing systems of the nature as we live in a urban environment made of concrete and asphalt. The <Water Mirror> avails an environment which we can closely understand systems of the nature by its water╣s being reserved, submergence, and evaporation.
┼˙ Water is poured into the <Water Mirror>. The waterwhich is going to be absorbed into the earth via underground streams from the <Water Mirror>. The <Water Mirror> is like a magnifying glass of the nature placed between the heaven and earth.
┼˙ What is man╣s current position in the long history of cycles in mother nature?şA question from the liberated water.
┼˙ It doesn╣t cause a serious problem even if the embankment were broken in the <Water Mirror>. It doesn╣t represent the limit of man╣s wisdom, but it needs to be understood as one way of co-existing with water.
┼˙ Therefore, the boundaries which constitute the <Water Mirror> may require the instant repair, or another temporary structure as a convention of making a ┼@ proper environment by participant╣s own hands.
┼˙ <Water Mirror> can be based and extended from the ideas of flood control of Japan, as traditional techniques of flood control by river improvement embankment works are suggestive of their ideas of co-existing with water. Their techniques weren╣t meant to rule over the water, but rather to echo with the water and absorb its energy. The <Water Mirror> is a device with which we can communicate and echo with the nature.
┼˙ <Water Mirror> does not only reflect internal breathings of the surrounding scenery. It also exhales a scenery. This means that the <Water Mirror> projects the scenery on the surrounding buildings by its own breathing. A building also starts breathing like a living creature when encircled by the reflection of waves created in the <Water Mirror>.
┼˙ The │swaying▓ images born from the <Water Mirror>; birth, extinction, expansion, increase, echoes, interference, ascendance, descendance -. Changes in wave patterns on the water surface becomes the shared language of things and environments surrounding the <Water Mirror>.
┼˙ As for the performance with the <Water Mirror>, it will be an act of │making the wave patterns▓ as a shared language. My own breaths will create waves on the water surface, and that will also start the swaying. I will become a sender of signals in front of the unlimited possibility.
┼˙ There╣s no need for the dramas and acts of conflicts between man and water. Further I go away from my
│intended expression,▓ stronger my internal energy will be, and create even bigger echoing effect by more natural breathing.
┼˙ <Water Mirror> is not an architecture, nor a sculptural object. It is more of an │expression of space.▓
┼˙ Water is an existence which doesn╣t have a significant form, not solid, thus it can be revolutionary. In addition to these characteristics, the <Water Mirror> is improvisational, suggestive, thus the experience with it can beshared with people.
┼˙ <Water Mirror> as an │expression of space▓ will grow into a suggestion of │collaboration▓ for the future in which the society needs more of co-existing and shared living.

Late March of 1987. There was a request for me to participate in a contemporary art event as a part of the program for lighting up old traditional buildings sited in Yokohama. For me, it was a golden opportunity to pursue the desirable position in which the cultural administration should establish for the contemporary art given.
The administrative side, the neighboring people, and the artists╣ side; some important possibilities occurred from these groups of people trying to get together as one. The possibilities were, how to express the air of the artists in the exhibition, the viewpoint of the art movement itself, and opening the constructing process to the public, and constructing a collaboration system with the community.
The 'Water Mirror Project' appeared as
an │open space▓ where the given possibilities were able to be visualized.
When the <Water Mirror> is filled with water, it will become a vital structure for inhaling (reflection).
when the surrounding structures remain brighter than the Water Mirror when the Water Mirror gets well-lighted and the surrpundings remain dark
When the Water Mirror get well-lighted and the surroundibg remain dark, Ichi Ikeda started to inspire his breath into the Water Mirror to create waves.
Ichi Ikeda breathing into the Water Mirror to create wave patterns
size: 11m by 11m (depth:3- 10 cm)
materials: wood, stone, clay, plasticine, sand and water

schedule: installation/ July 25-31, 1987
exhibition: Aug.1-7, 1987
performance: Aug.1-7, 1987
deinstallation: Aug. 8-10, 1987

A 'Soft device' inviting waves on the water
Makoto Murata
Coordinator of the Art Move 1987
Art Journalist

From Leonardo da Vinci╣s drawing of water streams to David Hockney╣s flickering sun light in the swimming pool, Thales╣ principle of all things, or Gaston Bachelard's writing of "L'eau
et les reves", there seems to be quite a number of artists and philosophers who've been attracted to water as their favorite subject for depiction, in both traditional and contemporary Eastern/Western cultures.
Water does not have any specific look, or a shape, though it can turn into any form at any time. One can experience water as a real existence, but you can╣t exactly perceive it visually. Water can be defined as a concept which is placed between objective and subjective.-------------------

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