Seitaro Yamazaki: Time Spilled Over

Connect with the Exhibition

How will our consumption look when seen from the perspective of people in the future with different values?

The inspiration for the Fossils from the future pieces started from that simple question.

This piece is a sculpture made by sand. The logo mark is in acrylic.

The symbol of consumption is detached from the functional material,
and the two elements are crafted from differing materials and given a different sense of time.

The concept is deconstructed and rebuilt from two materials in different times.

We have icon preferences, these icons are a part of our lives, and we consume them.

In this sense, the work is like a letter from the future to all of us living in the world right now.

- Seitaro Yamazaki



About the Artist

Seitaro Yamazaki is a conceptual artist based in Tokyo, Japan. He showcases exhibitions and installations across the world. Yamazaki works around the theme of finding and casting a spotlight on elements that weren’t chosen for one reason or another in the evolution process. Yamazaki is the founder and director of Seitaro Design, Inc., radio personality of FM Yokohama “Culture Department” and the Creative Advisor of Tokyo 2020 Olympic and Paralympic Organization Committee.


Artist's Statement

I explore the beauty of ambiguity, transience, and the things that were never depicted, spoken, or formed.

Born and raised in Japan and worked as a designer and artist, I have been strongly influenced by Swiss Style typography, American minimalism, Ambient Music, and Monochrome photographs of 70s and 80s. And as a Japanese, I am also deeply interested in and affected by Japan’s traditional views on nature and aesthetics, and studying ink wash painting, ikebana (Japanese traditional flower arrangement), and Kodo (Japanese incense ceremony) for years. All of them are characterized by extremely restrained, simplified and minimalistic composition that makes use of blank spaces.

I love simpleness, ambiguity, and blank spaces.

Since the Middle Ages, the sense of ambiguity, transience, and the quality of being like an illusion or uncertain has been called “幽玄: yugen” and has been highly valued as a form of beauty in Japan.

I have been incorporated this sense of Japanese aesthetics into my minimalist art. In painting, sculpture, installation, and photography, I am trying to capture the fleeting beauty that exists at the boundaries between the world that industrial civilization has torn apart, or beauty of the things that lurk and hide on the border between people’s conscious and unconscious minds.