This piece was inspired by the American Gold Rush and the gold mines of Sado. The American artist initially created the work in Aikawa, but after visiting Sado, he became increasingly perplexed by the background of the area. The first Japanese word he learned was “Wakaranai” (I don’t know), which deeply influenced the creation of this artwork.

The piece features ten chimes suspended from the fingers of a two-armed sculpture. When the chime reverberates against the surface, the melody of “Wakarimasen” fills the air, conveying a sense of uncertainty and introspection.

Originally situated in the parking lot of the Sado Magistrate’s Office, the artwork provided a powerful juxtaposition against the backdrop of the nearby gold mine remnants, reminiscent of the solemn grandeur of the Roman Coliseum. This setting imbued the artwork with a rich, layered narrative, evoking a sense of a requiem dedicated to the gold mine.

However, this intimate connection with its original location has been altered, and the artwork has now been relocated. This separation from its initial surroundings evokes a poignant paradox, serving as a compelling reminder of the intrinsic, unbreakable bond between art and its original place.

The artist once performed live at the gold mine, with the music evolving from quiet sounds in the darkness of night to a vibrant composition accompanying the dawn. It’s a powerful reminder of the intrinsic connection between art, nature, and the passage of time. As you explore this work, consider the impact of its original location and the artist’s unique perspective on a moment in history.