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.