(L) If I drive at top speed along this flat, straight road without a single house along it, I calm down all the more. Late autumn, on this street without people. Behind the visor my face was shrouded in green, but despite this, the glimmer in my eyes looks straight ahead.Whether there are few vegetables, or no fish in the sea, it is not worth being fearful. If I plant one grain of rice, it always yields three hundred grains in return. (R) As I walk slowly along the brick road is only certain path that I can follow to get home, I can't stop this burst of laughter. The scenery that eventually dies is an unseen sound of cicadas.Even the toes are walking, wrapped in shadow in the midst of this carefree world bathed in brilliant sunlight. I don't need to know whether I am eggplant or pumpkin. Surely at least once in this lifetime butterfly will fly this way.

Born in Tokyo in 1955, Kenjiro Okazaki is an artist and art critic leading the contemporary Japanese art scene. Okazaki studied at Tama Art University but left the university without degree. He was spotlighted for the Akasakamitsuke series in his first solo exhibition in 1981. In 1982, his works were exhibited in 12th Biennale de Paris at Musée d'Art Moderne de la Ville de Paris. In 1986, Okazaki, who was granted Asian Cultural Council Fellowship, moved to the United States. In 2002, he served as the director of the Japanese pavilion of the 8th International Architecture Exhibition in Venice Biennale. In addition to collaboration with the contemporary dancer Trisha Brown for a dance work in 2007, Okazaki’s activities span several genres such as painting, three-dimensional creation, earth work, architectural design, and art criticism.
Around 1990, Okazaki began to title his works using long sentences. As each sentence of a title belongs to different stories concurrently, several stories develop in parallel. A painting and its title are also in parallel, and the painting is generated according to the rule for titles.