©Hayashi Yuki

Pachinko balls (about 200,000 ), punching metal, iron pipe, adhesive
2 tons
W2600 D2600 H2600 mm

Nagi Museum of Contemporary Art, Okayama, Japan


©Hayashi Yuki











One idea that occurred to me in the process of creating one of the works exhibited here, was that pyramids are objects that nourish our fertile imagination, while at the same time indicating a certain thesis regarding the human society itself.

The structure I made is the result of an exquisite combination of two precisely made industrial products – pachinko balls and a perforated metal plate. The pachinko balls that I used also inspired the basic concept of working with “real” materials.

Pachinko parlors exist everywhere in Japan, in big cities as well as in rural areas, and it surely wouldn’t be exaggerated to say that pachinko has been an essential constituent of the post-war Japanese society. When doing some research on pachinko, a matter that we here in Japan should be well familiar with, I found out that there are quite a few other things involved, such as national, monetary and ethnic aspects, which made it even more fascinating. These findings were the main source of inspiration for the creation of this work.

I nonchalantly placed mass-produced pachinko balls on a perforated metal plate, and in the process of piling them on top of each other, I discovered the physical law that would naturally make the result a trigonal pyramidal structure. That discovery was one of the things that inspired me to build a pyramid as a metaphorical object onto which I could project the hierarchic structure that I instinctively lump together, based on the historical notions and implications of pachinko.

While making the pyramid, I realized that, although it is a small one, it shares the composition of structurally stable elements, and in addition, the symbolic character of pyramids in general. And these things eventually made me doubt whether pyramidal structures are really necessary in the contemporary social system that we are part of, and whether they will retain their strength and stability also in the future.

Fujiwara Yuki

(From a statement written for solo exhibition)

Translated by Andreas Stuhlmann