Okazaki's artistic activity has shown great versatility from the beginning. To simply list some of his main activities besides pictures or sculptures: there is the "imaginary museum of children" of 1981 to begin with; the movie "Ludwig Wittgenstein, A Memoir/Trailer"; the computer piece "random accident memory" by the unit 'bulbous plants' of 1992; various activities of Haizuka earth work project that has been going on since 1994 in the Nakayama area of Hiroshima prefecture; architectural plans and critique texts with "Renaissance; the condition of experience" as its masterpiece. It is hard to grasp these diverse activities in a unity. Nonetheless, this difficulty may be comparable to the hardship met when facing the series of pieces by Brunelleschi, quite impossible to place into a specific genre, just as they were discussed in Okazaki's book. Particularly remindful is the impressive "story of Grasso", where the structure of the self is revealed only through the complete deprivation of the identity carried out by a trick.
For example, take the mechanism usually at work in a movie, where shots that are actually asynchronous and discontinuous, become stitched up along the timeline, forced to synchronize. In the visual piece of Okazaki, this process is remanded once again to asynchronicity, and new formation of images is accomplished by questioning the principles for the connection of shots. Similar to the identity of a subject finally comprehended by Grasso, it is never likely with such principles of image formation, for a piece to fall into a single media, a medium. In short, a piece is retained in a place unable to locate in the already existing time and space.
Therefore, the attempt to use the critiques of Okazaki in order to illustrate his pieces probably has its limits. The ultimate importance lies in the pieces. What is always at stake in the diverse works of Okazaki, formed by converting the interference planes of various medium into an interface, is not the distinction of genres, but the positioning of a terminal point that enables those very distinctions. Thus, in the act of appreciation given the equal right as the act of production, common ideas of time and space regarded as obvious are put into question, sent back to an experience of a constant generation of various time and space; an extremely "allegorical" experience indeed.
Perhaps on the other hand, the variety of mediums used implies a confrontation with the tremendous inconsistencies and differences that inundate the secular reality. Nevertheless, an essential difference exists, which is impossible to position in such reality, as an external sign. An example is the difference between the right and left hand that are conceptually identical but cannot be overlapped. This "left-handedness" that Kant referred to as being unable to locate in the existing time and space was also the keyword of Okazaki's book. It is rather the time and space that occurs from it. The obtainment of this "left handedness" over the inconsistencies of reality is precisely the "condition of experience" in the seemingly versatile activities of Okazaki.
Text : Yoshiharu Ishioka