Journal
Activity reports, production records and research notes with sources.
Production records
Why Dharma Uses 15, 25, 40, 62 and 95% Coverage
Three alternatives and a correction to the measurement method, recorded in August 2026. Distinguishable stages from different views took priority over equal numerical intervals.
Dharma: Display and Viewpoint
The five stages differ between front and side views. The coverage design record identifies what photographs and display arrangements need to make visible.
Memorial Series: Photographing a Coated Object
Can a photograph retain the object’s setting and relationships as well as its form? The October 2026 concept sets out criteria for an initial photographic comparison.
Comparisons between works
What Distinguishes the Four Daruma Works?
Eyes, surfaces, arrangement and playback: four works sharing the daruma form compared by the subject of their operations and their treatment of time.
What Changes through Coating, Cutting and Enclosure?
A comparison of matter, arrangement, visual information and use distinguishes different senses of loss in three works.
Does Enclosure in Resin Constitute Preservation?
Resin retains different things in Interdependence and Silence. Form, matter and use define the scope of an account of preservation.
Research notes
Daruma Eye Painting and Dharma
A comparison of Shōrinzan Daruma-ji’s eye-painting practice and Dharma’s coating, including the difference between fulfilling a wish and giving thanks for a year.
Buddhist Terms in the Titles Dharma, Hekikan and Sōe
Where do established meanings and the use of a term as a title coincide? Three titles distinguish religious explanations from artistic adaptations.
Is Maeose’s Depression a Mark of Damage?
A depression made as part of a vessel and a future chip are different states. Maeose and Chiaroscuro are compared through time before loss.
Preserving a Recording and Retaining Its Tape
Sound, its carrier, playback equipment and contextual information have different roles. IASA’s guidance provides a comparison for what remains accessible in Silence.
Ultra-Black Coating, Shading and Contour
Suppressing reflected light need not remove an object’s contour. A research example provides a comparison for appearance in Dharma and Hekikan.
Deliberate Marks and Natural Cracks in Flux
Can appearance alone distinguish deliberate marks from material change? A reference on wood drying informs the description of the work’s condition.
Hekikan and Agnotology: The Limits of a Comparison
Visual inaccessibility and the social production of ignorance are different problems. This note defines the scope of a comparison with agnotology.
Rauschenberg and Whiteread: Erasure, Casting and Coating
Erased marks, a cast interior and a coated panel: four works compared by their operations and remains, beyond a shared vocabulary of absence.
Activity reports
Evidence and interpretation
Artist Intention and Evidence in a Work
Physical facts, the artist’s account and possible interpretations have different sources. Mare’s contour and lunar seas provide a case for distinguishing them.
Erased de Kooning Drawing: Artist Accounts and Museum Interpretation
Does knowing the making process settle an interpretation? SFMOMA’s making references and artwork overview provide different kinds of evidence.
