In Murayama’s work, the act of recognize is essential. For Murayama, this act means projecting an image, created by interpreting her own memory and experience, onto her works.
An act of discerning each other in one way and another can conceal the essence of the person. Small animals, covered with the carpet or floral patterns, which is produced by overlaying the transfer paper, express such Murayama’s experience.
In addition, the process of overlaying colors and patterns while repeatedly firing white or transparency raster, portrays human relationship whose essence can be invisible in the process of extrinsically categorizing the person.
In fact, this series was inspired by an experience when Murayama saw a taxidermy animal as a decoration in a friend’s house. Murayama was intrigued by the idea that the dead animals can carry another notion by means of external action, whose characteristic is separated from the reality. In her work, stuffed small animals, in which an arrow is stuck or bleeding, stand on ready-made teacups, soup pot or run the prairie.
Murayama’s work exists in the space between life and death, which is reversed in her work.
She has made bold challenges to the use of 3D printers since her residency at the EKWC. Children’s toy furniture, produced by 3D printer present, presents cruel hierarchy, shown in the children’s play. A rabbit, sitting on top of such furniture, facing towards front, depicts the state that the rabbit is waiting for the opportunity to intervene in our daily life.