「A Life In A TANK-TOP」
(2014〜 )
1. THIS IS A TANK-TOP (2014-)
by KONMASA
The birth of KONMASA began with a single tank-top.
In 2012, I headed to New York. The catalyst was fashion.
Being fond of clothing, I pursued my studies in fashion in the city I admired.
However, due to repeated misfortunes, I decided to abandon that path in less than two years.
From there, I began to wander around art museums.
The man, formerly known as Masaya Kondo, started to encounter contemporary art for the first time.
Technicalities and techniques were of no concern—drawn by the freedom, I delved into art without a deep understanding, yet I consumed various artworks nearly every day.
It was a Saturday, and from the evening, the Guggenheim Museum allowed entry on a donation basis.
Amidst slowly walking the spiral slope, I stopped in front of a painting.
Perhaps around 30 minutes passed.
Despite the crowd of observers, I noticed that I was the only one in front of that painting.
How can I describe this sense of discord?
Somehow, I got goosebumps.
As I touched my arm, feeling the goosebumps, I realized something.
I was wearing a tank-top.
Though I've always loved clothing, today I was walking the streets in just a tank-top as an undershirt.
I pondered for a long time.
In this very moment, the fact that I existed here was confirmed by this tank-top.
At the age of 23, I resolved to keep wearing the tank-top.
Time passed by for a while.
On April 5th, 2014, the first day I captured myself in a tank-top as a record.
At least once a year, I always photograph myself in a tank-top.
What I intend to pursue from now on might not be understood by many.
However, this is my declaration of "freedom."
THIS IS A TANK-TOP
THIS IS A TANK-TOP (2014-)
by KENMAX
"Masaya Kondo is dead. I am KONMASA. I only wear tank tops now."
I immediately recalled these words.
At the time, when they came out of my friend's mouth, I couldn't help but think, "What is this person talking about?" But now, I keenly feel that there was a great determination in those words. When I first met him during the internship, he was still Masaya Kondo. We became friends due to our shared interests in fashion and photography, and we began to talk about various topics.
Our conversations revolved around topics like fashion, art, and recent events, not much different from typical college students.
However, among those discussions, his talk about contemporary art was particularly fascinating. Not just about the artworks, he also delved into the personalities and historical backgrounds of artists. Even though I didn't have much interest in art, I was always captivated by his explanations.
From my perspective, he was truly an "explorer." I believe it was this aspect of being an explorer that transformed "Masaya Kondo" into "KONMASA."
In New York, Masaya Kondo faced numerous misfortunes. Each time, I believe he deeply contemplated his own life.
After thinking over and over again, I suppose he decided to abandon the life of Masaya Kondo and start a life as KONMASA, who would continue wearing tank tops.
The photo was taken in a makeshift studio at the internship location.
I don't think much time had passed since the declaration of KONMASA.
It was in the early morning before the internship work began, and I was sleep-deprived.
When I looked at one of the photos I had taken, a shock ran through my dazed mind.
"This is divine!" and we laughed together.
A photo that exudes a unique atmosphere.
It was a shutter pressed casually, but in that image, it wasn't my friend Masaya Kondo but the artist KONMASA who already existed.
2. MEISO (2015-)
by KONMASA
Going with the flow, after I began wearing tank-tops, I became a photographer.
As long as I could express myself, any method was fine.
While being an assistant, I was occasionally called the tank-top photographer.
While pursuing my career as a photographer, I continuously worked on producing art.
However, I began to feel discord when considering the concept of the artwork.
While I was expressing something, it felt superficial.
I couldn't be satisfied with that. Consequently, I became lost, understanding nothing.
Around that time, I encountered the works of the globally renowned contemporary artist On Kawara at the Guggenheim Museum.
I felt overwhelmed by the vast progression of time and struggled to process my thoughts.
How many people genuinely understand what it means to be "themselves"?
In light of the world's transience, I began researching the cosmos and Buddhism.
From there, thoughts about my own mortality emerged, and at times, suicidal thoughts passed through my mind.
Hence, I stopped thinking altogether.
Yet, unable to find a way to halt my thoughts, I reverted to an old habit from my fashion student days: pinholes in paper with a sewing needle.
While doing so, I noticed my trivial thoughts dissipating.
That was probably my first meditation experience.
On May 18th, 2015, I crafted my initial self-portrait using pinholes.
After photographing it, I discarded the paper, but in that moment, I felt I understood, if only slightly, what art truly was.
Thus, in an effort to introspectively gaze upon "myself" and to attain a state of selflessness, I initiated the creation of meditative realms through the act of innumerable pinholes.
MEISO (2015-)
by Yushi
In 2014, when he became someone I could call a friend, he was already a man who only wore tank tops.
Others might have questioned why he only wore tank tops, but I never had any doubts because that was who he was.
What stands out in my memory even more is the moment during the photo shoot when his energy was released outward in a burst as he clicked the shutter. I vividly remember that the energy was not only within him but also radiated to the models and everyone moving around him, encompassing them all.
Furthermore, his photographic works seemed to project something indescribable from within him through the camera.
What's intriguing about his approach to his works and production is that the subject of his expression was always his own inner self.
It's fascinating to observe how he, originally a fashion student turned photographer whose profession was to create surface appearances, gradually shifted towards examining inner qualities rather than external forms.
When I appreciate his artistic works, I feel like I've entered a different dimension.
It's not just the countless holes within the artwork that create a world of their own, but also because his inner self and philosophy are reflected in those works.
MEISO is a piece that, while being a work for him to confront his own inner self, is also a work for the viewers to confront their own inner selves, and everything around it returns to emptiness.
Isn't it that kind of artwork?
3. SIDEBURNS (2018-)
by KONMASA
In 2018, I returned to Japan after living in New York for about six years.
Ultimately, the only thing I gained from my time in New York was the "tank-top."
Before returning home, I traveled through Europe.
From the Netherlands to the United Kingdom, France, Germany, Spain, Italy, and Greece.
Every day was incredibly refreshing.
I also stayed in Israel before concluding my journey.
Due to living near the ultra-Orthodox Jewish area in New York, I had a strong interest in the country of Israel.
All-black attire, hats, and long curled sidelocks.
Stringent regulations passed down across generations.
Standing in front of the Wailing Wall, watching them pray, I suddenly realized the emptiness of existence.
Living freely yet feeling pain.
Only an empty tank-top would remain in this world after death.
But while the soul inhabits the body, does the will also transfer to the material born from it?
From that day on, I continued to grow my sideburns.
And as a tangible experience of "form is emptiness," I began to cut them myself.
The cut sideburns are transferred to a new vessel, inheriting the DNA of KONMASA. As if leaving behind descendants.
SIDEBURNS (2018-)
by Kenichi Nishida Ramsøe
I am his hairstylist.
How many years have I been in charge of KONMASA's hairstyle?
My first encounter with him was in New York. Describing him is not easy.
It's impossible to express his unique worldview and character in just a single word.
The depth of KONMASA as a person, his compassion, sensitivity, strong beliefs, ability to learn from the past, and sense of humor.
And as an artist, he always has these passionate ideas. The unique perspectives and approaches that are distinctively KONMASA often catch you off guard in a good way, and his style is incredibly contemporary.
He stands out from both angles and is filled with unparalleled charm.
How can one aptly describe the artworks born from his kind-hearted nature and avant-garde artistic sense?
It's a blend of intricacy and bold punk sensibility, perhaps. At times, it can be difficult for ordinary people to understand.
Perhaps because I know KONMASA as a person, his worldview always curiously and effortlessly aligns with mine.
It's a great joy to be able to understand and enjoy what this artist wants to express, their messages, and their worldview.
It's not something that everyone can understand. I feel truly lucky to have become friends with KONMASA.
It's something irreplaceable in my life, and when I look back on my life, the time spent with him will undoubtedly be one of the highlights.
The hair artworks I created with him are all masterpieces, and there are a total of five hair lookbooks centered around the theme of mugshots.
Now, the inspiration for our works often comes from what we sometimes refer to as "consumption" – not by opening Google Maps but rather from wandering through the city.
While having aimless conversations and becoming exhausted, we would always absorb something from both nature and the streets. There were times when we walked as much as 20 kilometers in a single day.
Together, we roamed endlessly through the grid-like streets of Manhattan, finding ample inspiration and lessons along the way.
During our "consumption," we often visited the Jewish communities of Williamsburg and Borough Park in New York.
This area is inhabited solely by Jews known as the "Ultra-Orthodox," giving an overwhelming awe as if entering a forbidden territory.
This encounter with the Jewish community became the genesis of KONMASA's SIDEBURNS. For religious reasons, they adopt a unique hairstyle where they shave their heads but leave only the long sideburns intact.
The first time I saw this hairstyle, I felt a jolt of surprise as a hairstylist.
Wearing all-black formal attire, black hats, and that particular hairstyle.
I couldn't help but be intrigued by the Jewish people.
Their religious beliefs, discipline, and prayers.
The more I learned about their way of life, so distinct from contemporary society, the more engrossed I became.
Several years later, after leaving New York, KONMASA visited the holy city of Jerusalem on his own.
Watching them pray at the Western Wall, he experienced a profound realization.
A new chapter for KONMASA: SIDEBURNS.
The legend begins anew.
4. KONMASA BLDG (2021-2024)
by KONMASA
After returning home, starting from 2019, I continuously held a series of exhibitions.
The "Meditation Spaces" I crafted gradually approached their ideal form, navigating through various challenges.
In April 2020, my exhibition was set to occur in a museum in Nagano Prefecture.
However, due to the impact of the COVID-19, the setup was finished, but the decision was made to close from the very first day.
With nothing much to do, I returned to my hometown of Nagoya City・Arimatsu. During my stay, a junior from my middle school days approached me. We originally got along well, and that led to discussions about collaborating on something.
Trusting that two people could accomplish more than one, I relied on him, and we set out to create our ideal meditation space.
In December 2020, he found a suitable property for KONMASA The Art Building.
He also managed to find investors, completed the contract, and started the construction. However, he disappeared after a short while, leaving behind a significant debt.
Everything was difficult. Yet, these events played a pivotal role in the inception of KONMASA The Art Building, for without his involvement, there would indisputably be no KONMASA The Art Building.
The ordeal was intense, and I sensed that my endurance had limits.
I framed this hardship as an ascetic endeavor, setting a limit of 999 days for myself.
If, by chance, I couldn't withstand these trials for 999 days, I imposed a stipulation: to remove my tank top.
For 999 days at KONMASA The Art Building, I managed a cafe and gallery, engaging in daily interactions with customers.
The countless signs left on the first-floor surface were from individuals who practiced meditation in a private room and the artists I connected with. As days went by, the ever-increasing list of names resembled a form of training, much like constructing a mandala.
On the second floor, I hosted exhibitions of familiar artists and artists I admired, rotating them periodically. Among these, the exhibition by On Kawara, who had deeply impressed me in New York in 2015, became an invaluable time for both KONMASA The Art Building and my own life.
Moreover, exhibitions included tank top artworks created with students from my alma mater, a junior high school, and exhibition by the local Arimatsu indigo dyeing artist, Kaei Hayakawa. These activities could only be conducted in my hometown, the unique "place."
The meditation room on the third floor evolved over 999 days, constantly pursuing the perfect meditation space. On the fourth floor, a photo gallery continuously explained KONMASA throughout the 999 days via diverse exhibitions.
Then, at the entrance — on the 1000th day — I unearthed the tank top buried in the concrete ground, physically experiencing impermanence.
After enduring ascetic practices, only one tank top remained.
This lone tank top embodied the emotions of 999 days, and after 1000 days, it was the first time the title "KONMASA BLDG" was bestowed upon it.
KONMASA BLDG (2021-2024)
by Literature and Art - Genki Watanabe
With eyes wide open, hands clasped overhead, he sits in meditation in a Japanese-style room filled with mandala-like scripts, wearing a tank top, and shouts.
This is KONMASA's profile picture. When I first visited the KONMASA Building, the only impression I had of him was from this photo, so I remember being quite anxious about who would appear. However, while sipping KONMASA's homemade plum tea in the café on the first floor and listening to his stories, I felt a certain fondness for him. It was as if I was connecting with a genuine person, and his dedication to his work was palpable.
If that's the case...
"About that profile picture, some people have mentioned that it looks scary. Do you think so?"
"No, from that picture alone, it's hard to imagine what you're really like."
Though we cautiously touched upon the intent behind the photo, out of politeness and nervousness from our first meeting, we didn't explore it deeply.
Afterwards, I was given the opportunity to meditate in the dimly lit back area of the first floor. On the second floor, I observed photographs of a robot donning a tank top. On the third floor, I confronted a self-portrait, a Nirvana tableau evoking Munch's 'The Scream.' On the fourth floor, I admired an array of tank tops, all the while the rhythmic sounds of the Meitetsu Main Line echoed from outside the window.
Seriousness.
When you assume that the creator of a piece is truly serious about it, it prompts you to ponder the intent behind the work. Holding onto that belief of seriousness prevents thoughts like "I don't understand," "It's beyond me," or "It's probably a joke." That must be the essence of it.
While touring the KONMASA Building, these were the reflections I had.
Afterward, I was also asked by KONMASA to edit descriptions for the artworks, and I got to know the intentions and backgrounds of each piece in detail. However, that profile picture remains a mystery to this day.
So, I think I'll bring it up the next time we meet.
Whether the responses that come back are satisfactory or not, the attitude of trying to understand others is important, both in KONMASA's work and in this world, I believe.
5. KONMAMA (2022-)
by KONMASA
On March 28, 2022, my mother passed away.
While it's said that everything is impermanent, the pain is indescribable.
The tank top I was wearing on that day can never be washed.
This game of heaven and hell, how long will it continue?
The DNA of KONMASA wouldn't exist without my mother.
The car she left behind was painted pure white for the exterior, its market value reduced to zero.
Naming it KONMAMA and riding it until it becomes scrap is my own way of mourning.
And when the components of the scrapped car are combined with the tank top I wore on the day she passed, KONMAMA will be complete.
By reflecting on the past, we gain new insights; everything is impermanent.
Even if this body ceases to exist and breaks free from the cycle of birth, aging, illness, and death, only the empty tank top will carry forward these daily feelings.
Even if that continuity is severed, it's still a profoundly beautiful and natural occurrence.
6. CARD (2022-)
by KONMASA
From July 29th to August 9th, 2022, On Kawara's "I Got Up" exhibition was held at KONMASA The Art Building as part of the collaborative project for the Aichi Triennale 2022.
My purpose was to materialize the ultimate meditation space by incorporating "I Got Up" into the artwork "KONMASA BLDG." This was one of my goals and dreams.
Although the exhibition also faced hardships, the various once-in-a-lifetime encounters inspired by On Kawara's artwork spread out like whirlpools, resulting in a dazzling yet unseen moment.
I wondered how many exceptional individuals I would be able to meet in my lifetime.
People who have influenced me, my family, friends, and companions.
Even if these people were to betray me, the pure emotions that arise from trusting others are profoundly beautiful.
Starting from November 1, 2022, I began distributing cards to people, following the example of On Kawara's "I Got Up" and "I Am Still Alive."
The cards come in sets of two: one card is given to the special people I encounter, and the other card is kept by me indefinitely.
On the front side of the cards distributed to people, the words "THIS IS NOT A TANK-TOP" and a three-digit serial number are stamped with a rubber seal. The back side is printed with the text: "THIS CARD WILL BECOME A WORK OF ART WHEN KONMASA TAKES OFF HIS TANK-TOP PERMANENTLY OR WHEN KONMASA’S DEATH IS CONFIRMED."
The cards I keep have the words "THIS IS A TANK-TOP" and a three-digit serial number stamped with a rubber seal on the front side, and the back side is printed with: "THIS CARD WILL EXPIRE WHEN KONMASA TAKES OFF HIS TANK-TOP OR WHEN KONMASA’S DEATH IS CONFIRMED."
When the cards are stacked, holes are punched according to the serial number digits.
Instead of including my signature, the position of those holes serves as evidence of me handing over the card.
Not every day, but in those moments when I feel that a particular encounter is significant, the cards are issued.
Encounters are crossroads in life, and this act wouldn't have been born without displaying On Kawara's "I Got Up." Meeting On Kawara undeniably altered the course of my life.
CARD (2022-)
by Nozomi Hishiki
On November 1, 2022, I received a card from him.
It had a rubber stamp that read "THIS IS NOT A TANK-TOP" and just one hole punched in it.
He was always someone who valued the inner qualities of people and things over their outward appearances. This sentiment extended to his art as well.
I felt that he not only appreciated the superficial aspects of the artwork but also delved into its core essence - pondering why he felt compelled to create a certain piece, what emotional state he was in when he did, and whom or what he had in mind during its creation. Before meeting him, I don't believe I had ever truly engaged with art in such a profound manner.
Yet, I came across the art named KONMASA.
Why does he persistently wear tank tops? Why has he let his sideburns grow? Why did he punch so many holes?
Every single 'why' connects, turning into a line that leads to understanding.
As my grasp deepened step by step, I felt as if the expressions inherent in the artworks transformed.
He never ceases to think and is always in search of stimulation. Because of his unique nature, his artworks are intricate yet forceful, making one profoundly sense life. The more I learned about him, the more alluring the individual named KONMASA became.
A card I received from such a person.
A gesture that signifies a connection known only to those involved, not visible to the eye. It's an action and art stemming from his respect for individuality, his inclination to be close, and his value for connections with others.
When the card I received becomes an artwork, I promise that if I am still alive, I will continue to speak of the real art that is KONMASA.
I want to share the presence that added color to my life with art for as long as time allows, without regret.
Just as On Kawara influenced him, he also had a significant impact on my life.
7. KONNANA (2023)
by KONMASA
After the Aichi Triennale 2022 concluded and with the KONMASA The Art Building's remaining 500 days, I realized that I had achieved 90% of the initial goals set for this place.
With only 500 days left, I wondered what final act I could perform. That's when the idea of a giant tank-top entered my mind.
Is a tank-top truly a tank-top if it doesn't fit one's stature?
However, to me, the tank-top had transcended mere clothing.
On April 19, 2023, to commemorate the 700 days of KONMASA Ths Art Building, for seven days, I dressed the 6.10 meters tall Nana-chan statue at Nagoya Station in a tank-top.
The tank-top bore the words "THIS IS NOT A TANK-TOP."
The giant tank-top continued to narrate the story of those seven days.
KONNANA (2023)
by yano
2020
Going back a few years, what appeared in Shibuya was someone in black boots, loose black pants, blond hair with a bang hanging over his forehead, and extremely long sideburns – referred to as "tank top."
This "tank top" who showed up as an interviewer for my new job entered my world as something out of the ordinary.
Before I knew it, I had moved from Shibuya to the outskirts of Nagoya in Arimatsu, deeply entangled in KONMASA's mandala world. And, I was entrusted with the position of store manager at the café area on the first floor of KONMASA BLDG.
The building seemed to resonate with various rhythms. The heartbeats of other artists and all the people who visited, with their joys, angers, sorrows, and pleasures, all seemed to harmonize with the building. There was not just beauty there but also a presence of beastly nature. At times, when he faced these, it felt as if he might be obliterated. However, in such circumstances, he continued to release artwork after artwork, persisting in life. His creations, declaring "living is art," were indeed human-like, warm, and beautiful.
Time passed, and before I knew it, that interviewer from that day had become KONNANA.
It was life-sized.
yano
8. KONMEMO (2023-)
by KONMASA
As the challenges faced in the KONMASA The Art Building subsided, I began to contemplate my own death.
If I were to stop wearing the tank-top, it would signify the death of "KONMASA."
Having gone through various experiences, I once again realized that in the end, there was nothing left but the "tank-top."
Only the husk of the tank-top continued to speak of the existence of "KONMASA."
Starting from January 1, 2023, I spent each day wearing the same tank-top, recording my presence with an iPhone.
Using the iPhone's camera to capture, as evidence that the date wasn't altered, I simultaneously recorded a screenshot of the "Adjust" screen, where the date should match both the "Original" and "Adjusted" sections. If the date was tampered with, the word "Revert" would appear in the upper-right corner.
The tank-top I wore had "THIS IS A TANK-TOP" handwritten on it, along with a serial number below it.
The maximum wear period for a single tank-top was 99 days. Upon completing 99 days, it would be marked as "SUCCESS." If I forgot to record, it would be marked as "FAILURE." At that point, I would switch to the next numbered tank-top, and the cycle would repeat.
The tank-top that had served its time would be sewn onto a blank canvas, with a paper record of the duration it was worn affixed to the back.
The sounds within the videos that documented each day's tank-top were generated from KONMASA's physical actions—sounds of breathing, hand-clasping, footsteps, and even internal body sounds were recorded and mixed.
KONMEMO (2023-)
by JANTENNA
KONMASA is synonymous with a tank top. At the same time, he is both a close friend and a teacher to me.
In August 2021, shortly after the opening of KONMASA Building, I had a fateful encounter with KONMASA.
Why did I end up visiting almost every month thereafter?
Certainly, all the café menu items were delicious, and it was an affordable and cozy space.
The exhibitions that changed regularly were also appealing.
But that's not all.
Even though I'm not well-versed in art or contemporary art, KONMASA generously shared many valuable stories with me.
He introduced me to other artists and helped establish connections. He gave advice when I was struggling or in need.
Being with KONMASA always brings a sense of relief and motivation to me!
His artworks are not pushy expressions nor heavy screams from within.
In a way, they might be "nothing."
When he says, "Once I've decided, I'll follow through," KONMASA doesn't just espouse ideals, he genuinely acts on them.
Even when he doesn't reveal anything outwardly, and where most people, feeling listless, would naturally do nothing, KONMASA takes action.
There, it's not about tenacity, pride, or obsession; instead, a sheer emptiness simply exists.
Such a character produces alluring artworks, and perhaps it's the reason why people who empathize gather and resonate with them.
I am a performer of sound, so I hoped in my heart that we could collaborate on something. I had received requests for projects involving DJing and creating background music.
When I did a 7-hour DJ session over two days, or when I was asked to create a 40-minute meditation track, or even when there was a mention of wanting to record the sound of the stomach, I thought, "This person might sound casual, but is he sane... He's really serious, isn't he?"
Those meaningful moments we spent together have become lifelong memories.
At KONMEMO, after the shop closed, equipment was brought in to record KONMASA, who had been wearing a tank top of the same style for 99 days. They captured his 99 handclaps, 99 footsteps, and 99 breaths. These recordings were then combined with sounds from his intestines to produce the final piece.
I have several of KONMASA's artworks in my home, displayed within easy view.
There have been times when I've felt like, "Ah, it doesn't matter anymore," on the brink of giving up. Yet, I'd remind myself,
"No, I can still push through. If it were KONMASA, he wouldn't have given up yet. Just one more step forward."
These thoughts have saved me countless times.
He is bound to continue doing things beyond our expectations in the future.
The tank top has taken its first stride.
And I will follow KONMASA's lead.
9. MEISO ∞ TANK-TOPS (2023-)
by KONMASA
The "MEISO (2015-)" which involved creating numerous holes in Japanese paper was primarily based on self-portraits. However, starting in 2023, I shifted my focus to representing the core element, the tank-top.
Before I realized it, eight years had passed.
In the process of crafting the tank-tops, I imposed various constraints upon myself.
Firstly, I decided to make 9999 holes in each individual tank-top.
Furthermore, upon reaching a certain count for the holes, as specified below, I replaced the Japanese paper and started anew with the hole-making process:
1,2,3,4,5,6,7,8,9,11,22,33,44,55,66,77,88,99,111,222,333,444,555,666,777,888,999,1111,2222,3333,4444,5555,6666,7777,8888
In other words, to complete a single tank-top, the process necessitated 36 sheets of Japanese paper and a total of 55,530 hole-making actions.
In addition, with the commencement of "KONMEMO (2023-)," the tank-tops worn in this work were utilized as models. Within the cycles of changing from "KONMEMO" 001 to 002, 002 to 003, 003 to 004, and so forth, over a period of 99 days, the entirety of the aforementioned process was intended to be completed.
Finally, it was determined that these procedures would be perpetually repeated.
On each sheet of Japanese paper, three stamps were pressed: "THIS IS NOT A TANK-TOP" on the upper left corner, the serial number of the tank-top worn during "KONMEMO" on the lower right corner, and below that, the count of holes made.
The chosen numbers held no specific significance; they were simply challenging yet achievable quantities sought after by myself. The use of repeating digits was purely due to the aesthetic appeal of such a sequence.
The completed Japanese paper was framed in wooden frames, achieving a finish reminiscent of shoji screens.
Thus, I found myself reflecting on my childhood, recalling the times I was scolded for poking holes in the shoji screens at my grandfather's house.
This is the truth of "MEISO" by KONMASA, and it resides within the tank-top.
MEISO ∞ TANK-TOPS (2023-)
by Chiaki Dosho
About KONMASA
I don't know Masaya Kondo.
The first time I met him, he introduced himself as Konmasa, the owner of a gallery and seemingly a contemporary art artist? He was a distinctive young man wearing a tank top, with long blond sideburns. Did he tailor the conversation to suit my understanding? We started with simple discussions about art. It slowly spread, branches intertwined, forming a magnificent tree, and gradually, it expanded deeper and deeper. His words, spoken in a straightforward manner, seeped into my frozen mind like water soaking into parched earth, unfreezing and dissolving without my noticing. Before I knew it, he had become the artist [KONMASA] in my eyes.
Did [KONMASA]'s conceptual works begin with countless needle holes? When seeing such a vast number of holes, I can't help but wonder how long it took to make them.
During the time he was making these holes, how much of it was spent in a state of emptiness, immersed in meditation?
Similarly, when I spend extended periods creating fiber art pieces using a sewing machine, I feel like I'm undergoing a monk's training—experiencing moments of meditation where I think of nothing. During these times, I feel as though I'm in another world, a sensation that reminds me of being in a meditation room.
In MEISO ∞ TANK-TOPS (2023-), artworks capturing the imagery of shoji crafted from Japanese paper and wood are being showcased. This idea originated from a childhood memory of piercing a hole in the shoji at his grandfather's house and getting scolded for it. The very first piece, 001, I've heard, started from just a single needle hole. After spending a long time puncturing holes, he decided to start once again from the world of one needle hole. I can't help but wonder how [KONMASA's] thoughts, refined through deep contemplation, transformed and led him to this stage.
This artwork started with just one needle hole and expanded to 9999 holes, forming the shape of a Tank-Top that seems to emerge from the mist. I proposed to "KONMASA" that he opens one hole in this artwork using his finger, just like in the old days. It's something allowed in contemporary art. Simultaneously, it's a collaboration with a contemporary art artist, my proposal and "KONMASA's" action.
It will truly become a one-of-a-kind contemporary art piece in this world. (lol)
10. KONMASA 47 (2024-)
by KONMASA
After the completion of "KONMASA BLDG (2021-2024)," I decided to carry out the long-standing goal of "circumnavigating Japan with a single tank-top."
During the journey around Japan, I intend to use the dashcam of "KONMAMA (2022-)" to record my travels as extensively as possible and take a selfie in each of the 47 prefectures.
Upon returning to Aichi Prefecture, the starting point of the journey, I will conclude the trip. At the studio of porcelain artist Takamasa Sakai in Kariya City, I will fire and shatter the tank-top worn throughout the journey.
These shattered fragments will be distributed over a span of many years to people connected to the 47 prefectures or those I will encounter in the future.
And so, in this manner, a single tank-top will be completed throughout the Japanese archipelago.
10. KONMASA 47
by Takamasa Sakai
One day, "the tank top guy" showed up at my ceramic studio.
Strangely enough, about ten years ago, I filmed myself working in that same studio.
It was for a video to be shown at my studio’s 10th anniversary party.
In that footage, I intentionally wore a tank top—not because it had anything to do with the ceramic process,
but simply because I thought it would be fun if someone watching the video paused and wondered:
“Wait… why is he wearing a tank top?”
Fast forward ten years, and that very "tank top guy" appears before me,
carrying a tank top he had worn while traveling across all 47 prefectures of Japan.
As it turns out, he had been deeply influenced by the conceptual artist On Kawara.
Though I won’t go into detail, Kawara is also an artist I've always held in mind—even if not directly influencing my own practice.
So in a sense, it felt less like a coincidence, and more like something that was meant to be.
That man—KONMASA—wanted to transform the tank top he wore across Japan into ceramic.
He brought it to me with that very intention.
So, we submerged the tank top into slip (liquefied clay), dried it,
and fired it at 1300°C to turn it into a ceramic object.
Then, he shattered it with a hammer and began distributing the fragments across Japan’s 47 prefectures.
When I first heard of KONMASA’s plan, what immediately came to my mind was Japanese mythology.
The tank top, soaked in earth from its journey,
is then embraced by fire, compressed, and ultimately broken—
a process that reminded me of Kagutsuchi, the god of fire.
According to myth, Kagutsuchi was born from the union of the deities Izanagi and Izanami.
But his very birth—being a god of fire—caused Izanami to die from severe burns.
In his grief and rage, Izanagi killed Kagutsuchi with a sword.
From Kagutsuchi's blood and scattered body, many new gods were born.
When I watched KONMASA smash the ceramic tank top with a hammer,
it was as if he was reenacting that ancient myth.
And just like Kagutsuchi’s remains gave birth to new deities,
the fragments of the tank top, now scattered across the land,
will go on to give rise to countless new stories.
11. TANK-TOP-TSUDA (2024-2025) meets sanuki base
by KONMASA
February 24, 2024 — the day we unearthed the tank top buried in front of the KONMASA Building.
Rushing to witness it were three members of Sanuki Base, a group based in Tsuda Town, Kagawa Prefecture.
Thanks to them, the work KONMASA BLDG was finally able to reach completion.
To express my gratitude for that day, I decided to “dress” their town in a tank top.
Tsuda, facing the Seto Inland Sea, was a town full of vibrant energy—
a place, in the best sense, completely unrelated to tank tops.
I began by drawing a map of Tsuda on a single sheet of paper.
Then, I overlaid the shape of a tank top on top of the town.
It looked as if Tsuda itself was wearing a tank top.
I decided to base the project within that tank-top-shaped area,
and prepared one actual tank top to begin with.
The plan was to let this tank top absorb the energy of the town,
then deconstruct it, and finally release it.
Each process would last exactly 99 days.
First, I laid black washi paper across the beach,
and placed the tank top on top of it, tracing its outline with white ink.
After drying the tank top in the sea breeze and sunlight,
I carried it throughout the town and documented it in various places.
We took it out to sea on a fisherman’s boat,
had local residents wear it,
and photographed it in alleys, by the railroad tracks, on bridges, in restaurants, on the beach, at the station, and among pine trees—
traces of the tank top left all across Tsuda.
Then, on November 10, 2024,
I attached the tank top to the container wall at the town’s entrance—facing the port—
and let it absorb Tsuda’s energy for 99 days.
After 99 days passed, I peeled it off the wall.
Then, with the help of local residents,
we deconstructed the tank top by cutting it into 99 pieces.
That day was February 24, 2025—
exactly one year after the original excavation of the tank top from the KONMASA Building.
Each of the 99 pieces was numbered,
and a photo book documenting the process up to that point was compiled.
Together with these pieces, 99 copies of the book were released.
The release period lasted 99 days, from June 3 to September 9.
During that time, tank-top-themed artworks by various artists and local residents were exhibited throughout the town.
It became, in a way, a Tank-Top Art Festival.
For the beach phase of the project,
I used the black washi paper that had served as the tank top’s template,
and pierced it with pinholes to create a map of Tsuda.
This became the foundation for a meditation room.
Those who step into that space may come to realize:
they are already inside the tank top.
And then, on September 9—
I handed over the final of the 99 fragments to Sanuki Base,
and a single tank top was fully released from the town.
Whether or not what remained was truly a “tank top”
is something each person must decide for themselves.
But one thing is certain:
In the summer of 2025, only in Tsuda did so many people become consciously aware of the tank top—at that exact moment.