This series explores the infinite proliferation of pop imagery.

Everyday motifs are repeated, multiplied, and expanded until they fill the entire space.
Through repetition, they shift from objects of consumption into structured visual entities.

Since ancient times, humanity has attempted to visualize the infinite.
Ornamental patterns, geometric motifs, and ritualistic repetitions found in early cultures reflect a desire to express continuity without end within finite surfaces.
These forms can be understood as one of the earliest visual languages of infinity.

This sensibility was later articulated within Western art history.
Ornament came to be understood as an endless pattern, and theorists such as Alois Riegl described it as a fundamentally open structure.

Infinity was also explored philosophically.
In Friedrich Nietzsche's concept of eternal recurrence, existence itself is sustained through repetition.

This logic of repetition developed in a distinct way within Japanese visual culture.
Patterns and characters evolved through repetition and proliferation, often associated with the notion of "kawaii," where familiarity and expansion coexist.
Crepes and other universally recognized motifs originate from this cultural background.
They are widely circulated visual images within Japanese urban and street culture, repeatedly consumed and shared.

Rather than selecting them as personal preferences, Taro chooses these motifs as highly distilled examples of images that are constantly repeated in contemporary life. The selection itself functions as an intervention into the structure of the visual environment.

Taro captures this sense of infinite accumulation through a distinct visual perspective.
In contemporary culture, this structure accelerates through pop imagery.

Trends, consumption, and visual symbols continuously reproduce themselves without conclusion.
The proliferation in this series exists along this extended lineage.

The ancient impulse to represent infinity passes through Japanese visual culture and reappears within contemporary pop.

Pop is no longer merely consumed, but becomes a structure that endlessly replicates itself.
Through this series, he presents a condition in which images continue to multiply without end, a form of infinity as it appears in the present.

20.8 x 20.8 in / 53 x 53 cm | Acrylic on Canvas | 2022

28.6 x 20.8 in / 72.7 x 53.0 cm | Acrylic on Canvas | 2021

28.6 x 20.8 in / 72.7 x 53.0 cm | Acrylic on Canvas | 2022

51.2 x 35.2 in / 130.3 x 89.4 cm | Acrylic on Canvas | 2022

This series explores the possibility of integrating technology into existing artistic expression, not merely as a functional tool, but as a process that reflects human sensibility beyond technical execution.

The idea emerged from a brief television feature on floppy disks, highlighting how a technology widely considered obsolete still plays a crucial role in certain industries. While largely absent from everyday life, floppy disks remain essential in specific systems, such as embroidery machines and early Boeing 747 aircraft, where operations depend on their continued use.

At the same time, the floppy disk persists symbolically. The familiar "save" icon, still widely used in digital interfaces, is based on its form, embedding the image subconsciously into our collective memory. Even generations who have never used a floppy disk can recognize its meaning instantly. It exists as a kind of visual ghost, detached from its original function yet still alive within contemporary perception.

This ambiguity is further reinforced by the fact that institutions such as the U.S. Department of Defense have announced efforts to phase out its use entirely, marking its transition from functional object to cultural residue. Incidents linked to outdated systems, including financial errors once reported in Japan, reveal how these remnants continue to influence the present in unexpected ways.

In parallel, the series incorporates references to Japanese subculture, particularly the visual glitches of early video games such as the Famicom. These "errors" are recreated using stencil techniques, translating digital artifacts into physical form. The combination of obsolete digital technology and analog reproduction creates a layered sense of nostalgia, specific to the contemporary era.

By connecting technology and instinct, the works propose a new cultural value that exists between past and present. They function as symbols of technological evolution while simultaneously questioning how images, memories, and meanings persist beyond their original context.

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

23.6 x 23.6 in / 60 x 60 cm | Acrylic on Canvas | 2023

16.1 x 16.1 in / 41 x 41 cm | Acrylic on Canvas | 2023

This series investigates the new forms of social communication and communication systems generated through SNS platforms. Taking the smartphone screen as its compositional framework, each canvas is structured around the hashtags, icons, and visual language that have become central to contemporary social media.

Is this a genuine social network — a new mode of human connection? Or simply "social media"? The imagery within these works can be understood as a manifestation of the "new society" and the "new generation" that has permeated the world we inhabit.

The social network society has come to symbolize how we are bound together, and how an exciting new world has been constructed through that connectivity. The hashtag plays a defining role in SNS communication — not merely as textual information, but as a symbol of how knowledge travels and how people relate to one another in contemporary society.

Language is visceral. Language changes. Human instinct, like AI, is in a constant state of update. This series expresses a real and rapid contemporary society in perpetual flux — channeled through the hashtag. The works carry within them elements of popularity and trend, mass production, mass society, mass consumption, a society of signs, virtual imagery, ephemerality, repetition, and the non-interior — all held within the context of pop art.

Text here is not decoration. It carries the conceptual weight of the work. Yet the hashtag will disappear within years. As AI technology accelerates — as image and video recognition reaches new levels of precision — the role the hashtag has played will come to an end. These works deftly capture an era of rapid digital transformation, and carry within them an inherent fragility: the knowledge that, as the era passes, so too will the conditions that made them possible.

46 x 35.8 in / 116.7 x 91.0 cm | Acrylic on Canvas | 2021

16.1 x 9.5 in / 41.0 x 24.2cm | Acrylic on Canvas | 2021

20.8 x 16.1 in / 53.0x 41.0 cm | Acrylic on Canvas | 2022

20.8 x 18 in / 53.0 x 45.5 cm | Acrylic on Canvas | 2021

51.2 x 35.2 in / 130.3 x 89.4 cm | Acrylic on Canvas | 2022

20.8 x 20.9 in / 53 x 53 cm | Acrylic on Canvas | 2022