Kiyomizu

Kiyomizu presents the temple as a structure suspended within pale blue and gray mineral layers. Its wooden framework remains visible, but the surrounding landscape and architecture gradually lose their ordinary spatial relationships. Ground, sky, mist, and building begin to merge into one continuous field.

The temple is not depicted as a stable object in a fixed location. Instead, it appears to emerge and recede within the surface, as though its form were being held temporarily by light, memory, and material texture. The familiar structure remains identifiable, yet its edges never fully separate from what surrounds it.

Within Mineral City, Kiyomizu explores the threshold between recognition and disappearance. The image retains enough of the actual place to anchor perception, while allowing the architecture to dissolve into abstraction. What remains is neither a record of the temple nor a purely imagined landscape, but a state in which place and matter coexist together.