In 1969, I presented a conceptual work that incorporated the externality of "sand" as a non-self-contained material. The exhibition embraced "sand" as a medium, intentionally inviting randomness and disrupting the delicate balance between things that are inherently difficult to define. This artistic exploration reflects the recognition of an emerging unknown externality, embodying the age of chaos. This was a pivotal moment that shaped my subsequent creative philosophy. During this period, Makoto Hatori's sensibility gravitated toward traditional Japanese ceramics.

1. https://www2r.biglobe.ne.jp/~makoto-h/
Exploring Chaos and Certainty: The Enduring Vision of Makoto Hatori
Clockwise from the left: Preparations for the exhibition. On the right: Makoto Hatori engrossed in the prepara-
tions. In the bottom left corner: 'Phase,' showcasing varying levels of sand in three semi-circular containers. On
the right: 'Relation,' a cylindrical cloth filled with sand resting upon a cylindrical plaster base. These conceptural
pieces, crafted from plaster, wood, canvas with vibrant coloring, and sand, represent Makoto's quest to capture
the essence of physicality through the raw materials. The concept explored in this piece, the interplay of charac-
teristics and materiality, continues to resonate in my current body of work. This artwork was featured in the solo
exhibition 'L'espoir: Makoto Hatori' held at Suruga-Dai Gallery in Kanda, Tokyo, in 1969.
In 1969, Makoto Hatori presented a conceptual study that incorporated the externality of
"sand" as a non-self-contained material. The exhibition embraced "sand" as a medium, inten-
tionally inviting randomness and disrupting the delicate balance between things that were
inherently difficult to define. This artistic exploration reflects the recognition of an emerging

2. unknown externality embodying the age of chaos. This pivotal moment shaped my subse-
quent creative philosophy.
During this period, my sensibility gravitated toward traditional Japanese ceramics. In the
politically uncertain climate of the 1970s, when the foundations of the nation and culture
seemed to be in a state of flux, a strong desire for certainty arose. This desire was projected
onto the logical structure of traditional unglazed ceramics, which embodied Japanese aes-
thetics. Essentially, these ceramics were viewed as more Japanese than Japanese.
However, I existed outside of the confines of historical traditions and ideologies. In this po-
litically charged era, where the nation and culture teetered on uncertainty, I sought to ques-
tion prevailing perspectives, values, artistic creations, and historical interpretations through
the lens of traditional Japanese philosophy inherent in unglazed ceramic art and its pro-
found connection to nature.
A significant political event in Japan's history was the 70-Year Security Treaty, signed in
1970 between the United States and Japan. Not only civic society at the time but also stu-
dents who opposed the treaty advocated for peace and disarmament, opposing Japan's mili-
tary expansion and nuclear weapon possession. Students nationwide made active demands
on the government and universities, combining political and ideological protests with their
autonomy. In other words, it was a student movement for political self-realization.
Although these civic and student movements had a significant social impact on Japan, they
ultimately failed to converge. It is noteworthy that the 70-Year Security Treaty Movement
had a significant influence on the art scene at the time. This prompted the emergence of
artists with political messages aiming to bring about social change and political awareness
through their work. Among them, sculptors, known as the "Mono" group, used real "sub-
stance" as their material to recreate societal elements. They found the significance of art in
the "shift" that occurs through the reduction of familiar materials and the "pushback" of per-
spective toward the reality of society.
This exhibition serves as a narrative of the 70-Year Security Treaty at that time, highlighting
the lack of subjectivity that has become a historical norm in Japanese politics. It also ex-
plores the temporal space created by the suspension of lectures due to campus conflicts at
that time, which led me to hold this exhibition.