Mariko Mori’s Conjures Up Primordial Dreamscapes in ‘Radiance’

Meet Mariko Mori, the time traveler. From ancient cosmologies to technological futures, the Japanese artist has long used her practice as a way to bridge the gap between matter and spirit, this world and the next, revealing the unseen dimensions that bind the universe. She sees connections where others see borders, and commits herself to bringing these immaterial links into a rich, resonant reality — a pursuit she considers her “mission.”

This metaphysical journey extends into her ongoing exhibition, Radiance, at New York’s Sean Kelly, running through December 20. Connecting her enduring fascination with quantum imagination and primordial faith, the showcase explores the transcendental energy of iwakura – sacred rock sites found across Japan – and like these stones, the works on view are designed not just to be seen, but sensorially and spiritually felt.

Effervescent in form and palette, the exhibition features a fresh suite of photo paintings, works on paper and acrylic sculptures, including new additions to her Divine Stones series: “Love II” pays homage to tender meoto iwa, married stones, with surfaces that delicately bend and stretch light to evoke portals to the divine. In the main gallery, the artist mounts a “Shrine,” housing two more stone sculptures within them, and peppered throughout are her dreamy Unity tondos which embody the sense of universal oneness at the heart of her practice.

Shifting between the material and immaterial, spiritual and technological, Mori’s work is a masterclass in mercy, transcendence and a kind of unconditional love that will outlast us all. Ahead of the exhibition, we spoke with the artist about the making of Radiance, altered states of consciousness and what it means to be the maker of your own destiny.

“There’s an illusion of separation when it comes to physicality, but if you look beyond that, everything is connected.”

Over the course of your career, you’ve shifted from socially-focused to spiritually-concerned works. What initially sparked this turn and your interest in spirituality?

When I was producing the computer graphic animation for “Dream Temple,” I was doing a lot of research on the Mind Only school of Buddhism, which focuses on mechanisms of reincarnation. When you meditate deep enough, you can reach a consciousness that connects the past, present and future. It’s like chanting beads: each bead is a life and the thread is this higher consciousness.

One day, I had a metaphysical experience: I was surrounded by many souls floating in the air, revolving around a very strong light. They were radiating. Unlike us, these souls didn’t have an ego – a gravity that the body has on the spirit. All of them were considered as one, as a whole. I realized that this must be the world after being liberated from the ego. In regard to these metaphysical ideas, it was a mind-opening experience for me. I opened a new chapter then.

Can you elaborate on the recurring idea of oneness in your practice?

Buddhism and Zen Buddhism promotes this idea of wholeness, that we are all connected – every living being, not limited by this dimension, or even this universe. There’s an illusion of separation when it comes to physicality, but when you look beyond that, everything is connected. In this concept, time is not linear and space is limitless, so in a metaphysical sense, everything is open.

Can you walk me through the decision to use high-tech techniques and materials to express these very ancient ideas?

Those sacred or divine stones have a very physical presence, and, at the same time, they emit a metaphysical energy. I’m interested in this visible-invisible aspect of the stones, and in order to envision that metaphysical aspect, I was able to utilize new materials to achieve reflected or radiant light.

“If you create or experience or believe in love, this world can be heaven on earth”

So is technology solely a means of approaching this metaphysical state; or is it its own entity, separate to humans or nature?

Creativity is in our nature. The first creation humans made was an axe from stone, and even 100,000 years ago, it was a beautiful axe. We made aesthetic decisions in making these tools. We make something new and project a sense of beauty onto it and see the eternal through that. That’s how human nature is.

Before, societies used to give offerings. In Greek it’s called “agalma,” a pleasing gift for the gods. Humans used to produce for the sake of offering, but now we make for ourselves; this is our tradition.

Your perspective on technology is hopeful and refreshing. For you, it’s more about curiosity and invention.

Technology is our tool; how we use it is our responsibility. The future is whatever we envision it to be, so it’s not good to project it with fear. Technology is a reflection of our own mind, and our mind is the source of our future.

The works in Radiance are described to convey the “eternal bond between the divine presence and all living beings.” You’ve even named the couple sculpture “Love II.”  Do you see love as its own form of spirituality?

I’m not talking about romance. This kind of love is more about mercy and compassion. I believe that every living being is brought here to experience love. There’s many conflicts, but if you create or experience or believe in love, this world can be heaven on earth.

“When you’re a child, you follow your imagination and create different realities together… I want to feel pleasure through making, so I’ve always kept this sense of play.”

With your Mori Art Museum retrospective coming up next year, when you reflect on your career, what threads do you see connecting your early photographic projects to your more recent works?

You grow through your work, so it’s all quite different. But the one thing my work shares from the very beginning, even now, is playfulness. When you’re a child, you follow your imagination and create different realities together. Some painters are drawn to depicting struggle. That’s great, too, but I’d rather enjoy myself. I want to feel pleasure through making, so I’ve always kept this sense of play.

While the subjects and mediums have changed over time, you return to particular shapes and soft color palettes. Where do they come from?

I wanted to bring the light and colors from this metaphysical experience back onto Earth, into society. My mission is to remind us of that, so I tried to use materials that could evoke these feelings.

“When I was having that experience…it was the most deep and immense love I’ve ever felt in this world. I produce this kind of work to remind myself of that, as a way not to forget.”

Sometimes it feels like we exist in an ecosystem of pessimism, both towards technology and humanity. What do you think the world needs more of today? 

The relationship between human and nature has to be reconsidered. It’s quite a fragile state. I created the Faou Foundation to promote the concept of being one with nature. The separation between us and nature is one that we’ve built, but it doesn’t really exist. When we damage the natural world, we damage ourselves, and that’s exactly what’s happening right now.

How has your metaphysical experience or altered states of consciousness helped you nurture a sense of hope in your works?

When I was having that experience, I was so happy. It was the most deep and immense love I’ve ever felt in this world. If I could, I’d like to feel that way everyday, but something like that only comes once every few years. I produce this kind of work to remind myself of that, as a way not to forget.

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