The scenes of life in nature piles up and is eventually consolidated into one word. It is said that it will become the fourth generation whaler, known as “Nisshin Maru”. And will change shape many times. Its sense of mortality “mono no aware” can be obtained by explaining oneself in its relevance in nature, and understanding the transience of existence by the master in the tearoom.

Matthew Barney, Drawing Restraint 9, 2005, Photo: Chris Winget, Courtesy Gladstone Gallery, New York © 2005 Matthew Barney

Matthew Barney talks about the theme that “The Relationship Between Self-Imposed Resistance And Creativity” becomes the core of this film.

What is the tearoom? “A four and a half-mat Japanese room. In contrast with a medieval cathedral which pursued infinite height, it is said that Sen no Rikyu made the infinite size by narrowing its space rapidly at the place which surpassed man’s consciousness.” It says. A Japanese mutability outlook and nature-views can be found there. Moreover, we might be able to see what Matthew Barney presents at the same time. It was a precious opportunity made to recognize the one and become vaguely accustomed and familiar through him again.