Works — Perception, Time and Loss

8 Artworks

Dharma / 法, 2026

The work attempts to strip away the meanings invested in the figure and the visual information that sustains its familiar appearance, returning to the structure and presence of the object that remains. It asks how we relate, now, to a present we cannot fully grasp and to what we will eventually lose.

Hekikan / 壁観, 2026

Its history is partly concealed rather than physically removed. Paired with Dharma, the work asks how we encounter a thing whose physical structure persists as familiar visual information is withheld.

Mare / 海, 2024

Later knowledge and interpretations can enter what we recall. Through a wooden form that suggests a rabbit, the work questions the relationship between visible forms and the memories and knowledge we bring to them.

From the Mokusou Series

In his Mokusou series, Yokota works with familiar objects, historical fittings and timber carrying traces of time. Ultra-black coating suppresses reflected light, concealing grain, wear and the shadows through which depth is perceived. The object remains physically present while parts of its familiar appearance become inaccessible.

Flux / 転変, 2024

The work grows out of a fear of losing people and things that matter to me. Faced with an altered form, what do we feel has been lost, and what do we recognise as still present?

Interdependence / 相依, 2024

Do we regard something whose form has changed only as an incomplete version of what it once was? The work asks how we continue to relate to something that no longer takes the form we expected.

Maeose / 前押, 2024

By anticipating future loss in the vessel’s present form, the work draws attention to familiar objects and people who are still here with us. It asks how we relate, in the present, to what we may one day lose.

Silence / 沈黙, 2024

The work brings attention to the distance between an object before us and the time we want to recover from it. Does the fact that something remains mean that nothing has been lost?

Chiaroscuro / 明暗, 2024

Light and dark occupy the same wooden surfaces. Rather than waiting for anxiety to disappear before recognising what matters, the work considers how we relate to what is here while living with that anxiety.