Kenichi Miyazawa

Miyazawa finds his creative roots in memories of his father and grandfather, who were both quite fond of carpentry and DIY tools, and often made daily necessities and various objects by themselves. Raised in an environment where he was immersed in things and their making, and where one always made things by oneself (or found unexpected uses for readymade objects,) Miyazawa does not make objects from scratch, rather making pieces in which he reworks found objects and existing film footage. In his daily routine, Miyazawa enjoys strolling to secondhand shops and randomly browsing websites to collect junk objects and images whose origins are no longer identifiable. With his almost fetishistic obsessions with categories like “bootleg figurines” “unknown characters” “low-grade electric appliances,” Miyazawa lets his imagination play with the histories and stories behind those objects, which essentially no one can fully know. It is only then, as Miyazawa dismantles and reassembles their very presence, that “they” are granted for the first time the traces and mood of the past that corresponds to objects that “had once been made by someone (who, possibly, was made to do so), and then consumed and disposed of.” More often than not, “they” are not originally cool and aesthetically significant, but are rather funny and pitiful. Miyazawa appropriates “them”, objects with their own vibrancy, into his own work, lovingly saying “funnier is better”.