When people touch the flowers, they scatter and die. When people touch the sand, the falling sand breaks up.

The pictorial space of flowers drawn through Ultrasubjective Space differs from a picture plane flattened by a lens or by single-point perspective. In images or paintings produced by a lens or single-point perspective, space appears behind the picture plane; the space that opens there and the space the viewer inhabits are split, and the picture plane becomes a boundary surface. The viewpoint is fixed at a single point, and the body is lost. A picture plane formed by Ultrasubjective Space is not a boundary that separates where we are from the world of the artwork. The world of the artwork is not outside a window; it appears as a single field that is continuously connected, without boundary, to the space in which the viewer’s body exists. Moreover, any position — front, back, left, or right — can become a viewpoint, so viewpoints exist in infinite number, and the viewer regains a free body.

Not bound to a single point, the viewer moves their body and lets their gaze roam freely, continually re-composing the world of the work as it changes over time, and building the pictorial space of flowers within themselves.

In that moment, the work becomes a subjective, embodied spatial art in which the viewer walks inside that pictorial space.