CONCEPT Odaiba, a city surrounded by ground and landscape that is entirely man-made. Many of the modern cities are made up of the wisdom, inspiration, and efforts of many nameless predecessors in the past. The motif of this artwork to be created is "fingerprints”. It is a symbol of "individual identity" as well as a trace of "humankind" which includes its intervention in nature.

However, the trace is like a labyrinth that cannot be unraveled even if we try to trace its roots, origin, or original purpose. This artwork shows us about our relationship with nature which might have been destroyed by us consequently, but still tries to live strong, and it is an experience of the unseen purpose of humanity's search, and lets us think about our new starting point.

CONCEPT The white object, taller than the height of a human body, resembles the shape of the human body upon closer inspection.
The fundamental movement of people, "walking," appears through rotation, and this large person continues to walk toward "somewhere." The prototype for these works was born out of the artist's realization that humans are mobile creatures and that we are in constant motion as physical movement became more difficult due to the pandemic, and the artist myself was constrained by this situation. The pedestal of the work is in the form of a clock position, which represents a direction, and attempts to show the options of where people are walking and where they are heading in this chaotic period.
The surrounding area is dotted with small box-shaped works in which walking people photographed at intersections around the world that I have visited are trapped, and they are likewise heading somewhere. Although it is impossible to know in advance what will happen at the destination, people always walk forward. The work brings to mind the image of people walking, overlaying a scene of The Tokyo Waterfront City where many people come and go.

CONCEPT Dreams Plaza is covered with grass, and a 1km long symbolic promenade continues on.

When we visited the plaza for the first time, part of the lawn was enclosed, and there was nothing to be seen except for the solitary workers sprinkling water on the grass. The scenery reminded me of the "inaccessible lawns" that could be sometimes seen in parks. People coming from the station did not even take notice of the plaza, for they had other aimed destinations.

An act of enclosure bisects a place, separating the inside from the outside and shifting its meaning. By reversing this logic, could we not create a new territory in the plaza?

As we walked along the long promenade under the strong May sunlight, we encountered a group of isolated objects; a lighthouse-like street lamp, a bench basking in the sun, and a discreet walking path sign. If we also enclose them, would they not take on different meanings? A group of altered objects that the visitors encounter abruptly would create a territory that would connect through the promenade.

In this coastal subcenter area of Tokyo, The Wild Territory will emerge.

CONCEPT From October to November 2021, Nobumasa Takahashi painted the walls of "ARTBAY HOUSE" as some familiar and unfamiliar characters such as Perry, Egawa Tarouzaemon Hidetatsu, animals in the street, aliens, robots, and the sunrise on the departure from The Tokyo Waterfront City. The "ARTBAY HOUSE," designed by an architect Mr. Motosuke Mandai based on the concept of eight cubes, was dismantled to form eight boards (monoliths), depicting the moment when it takes off into the universe. This work is an after-story of “All times and future of RINKAI-FUKUTOSHIN ", works represents the eight "monoliths" Unleashed from the walls are wandering around in a "blank" far out in the universe which is while thinking of The Tokyo Waterfront City and waiting for the time when they will be reunited.