Concept — Super Dekoboko

Unevenness is not noise to be corrected,
but the way being human becomes visible.

What is “Super Dekoboko”?

Unevenness is not a defect; it is evidence that we remain living beings in a world being flattened.

Artist Note

“Super Dekoboko” (Super Unevenness) is the core of my practice.
It is a way to make the unevenness inherent in being human visible again in a world that is becoming increasingly flat through technology and efficiency.

It begins with the physical surface of painting—thick layers, cracks, scratches, and weight—but it also points toward inner distortions, contradictions, and shifts in tempo that shape how we live.
Super Dekoboko names this whole field of unevenness, not as something to be corrected, but as a source of meaning and future play.

Material Unevenness

Brush marks and thickness are traces of irreversible choices; they leave evidence that machines cannot.

Artist Note

Painting begins with the resistance of matter.
Thick layers, cracks, scratches, and weight—these tactile surfaces carry a truth that cannot be digitized.
As technology flattens our surroundings and replaces labor with automation, the physical presence of paint grows sharper, not weaker.

Material unevenness is not decoration.
It is a record of pressure, movement, and decisions accumulating over time.
Each ridge and interruption reveals a form of reality that only the hand can produce.

Personal Unevenness

The dents and distortions of a life are not things to hide; they become material for the work.

Artist Note

Every person carries their own distortions, habits, and biases.
These subtle inclinations—what draws us in, what repels us, where discomfort appears—shape the way we perceive and respond to the world. In my work, such accumulated choices naturally surface as movement, temperature, and tension across the canvas.

These traces are not always intentional, yet neither are they hidden.
Personal unevenness is something I choose to reveal: an honest record of the instincts, contradictions, and shifts that quietly construct a life.

Personal unevenness is never purely personal. The distortions we carry are shaped by family systems, labor, and the silent pressures of society. These traces appear in the work as accumulations that cannot be separated from the world that formed them.

Temporal Unevenness

The unevenness carved into a surface is not a mistake but a sediment of time; years piling up slowly give the painting its weight.

Artist Note

Time moves in bursts and plateaus. Some periods erupt with change; others feel suspended for years.
Ruins and eroded structures attract me because they expose how time has carved through a place—the acceleration, the stagnation, and the silent collapse.

The textures on my canvases function in a similar way. Layers are added, scraped, repaired, and buried.
Each surface becomes a cross-section of decisions made and unmade, a visible record of temporal unevenness rather than a single frozen moment.

Future Unevenness

Automation will keep smoothing the world; that is precisely why art must restore friction and tactility.

Artist Note

Flattening will continue.
Automation will advance, and systems like Basic Income may become part of everyday life.
Humanity appears to be moving, step by step, toward a world where less of our time is controlled by work.

A perfectly optimized future feels sterile. Unevenness remains a way to stay human within systems that prefer smoothness.

The real question is what we will do with the vast “empty time” that emerges.
What moves us, even if it is distorted? Where does our own sense of discomfort arise, apart from external approval? Which uneven patterns quietly shape who we are?

Noticing, exploring, and giving form to those individual unevennesses may become one of the central ways of living in the next era.
Super Dekoboko exists as a site for that awareness.

A related reflection on what remains human in a fully optimized world appears in
Journal 1 — After Efficiency, Only Unevenness Remains.

Why Super Dekoboko Matters

Unevenness is not something to fix, but something to accept and make use of.

Artist Note

Technology will keep smoothing the surface of our lives.
Yet the distortions, gaps, and contradictions within us do not disappear; they simply become harder to see.
Super Dekoboko is a way to bring that unevenness back into view—through matter, through time, and through the choices that accumulate in a painting.

The unevenness we carry — even the parts born from pain or distortion — can become forms of meaning rather than things to erase.

Unevenness is not a defect to be corrected.
It is the texture of being alive, and a possible starting point for how we will create, think, and play in the future.