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End Loop Horizon Disc.jpg

An edition of 50 made for the Horizon exhibition, Marefumi Komura 2021, Akio Nagasawa gallery Tokyo.

Extraneous and unintentional noise may occur depending on your playback environment.




小村のサブトラクト・ペインティングは「Less is more - 少ない事は豊かである」という単純な考えであると言える。それはシンプルさという事。彼は自分の作品を「脆弱性、無情感、不完全性を表現する試み」としている。エンドループはこれらの概念にきちんと適合している。








(四つの四重奏 T.S.エリオット)



—ロバート・ミリス 2019

(エンドループHenka ライナーノーツより抜粋)

This iteration of Marefumi Komura’s End Loop is just as beautiful.

End Loop should be experienced within the context of Komura’s more recent work, his works on paper, his SUBTRACT paintings, his art book works. However, the core idea—using only the last dying note of various songs and musical works to create new compositions—is unaltered.

Komura caused these sounds to happen, caused us to listen to them and think about them in a particular way, even though someone else actually made the original noises from which these pieces grow.

Komura’s Subtract paintings could be said to be about the simple idea that “less is more”. They are about simplicity. He has described his work as an “attempt to express fragility, impermanence and imperfection.” End Loop fits in neatly with these concepts.

They are very fragile sounds, they hover on one note without motivation or direction, their origins unknowable; they are dying as they are beginning, always fading, always being reborn to fade again…

Over-analysis of things is not often in the best interest of those things. We paint, we compose, we play instruments, we “make art,” usually to get at something we can not or will not define in other ways.

I quoted TS Eliot in my previous notes: “In my beginning is my end…in my end is my beginning,” from the poem “East Coker” from the Four Quartets. It felt an apt summation of the idea of End Loop. And now I will go slightly deeper into the Four Quartets, as End Loop goes slightly deeper into the original idea of End Loop:

If all time is eternally present
All time is unredeemable.

What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.


What might have been and what has been
Point to one end, which is always present.


Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden.

(T. S. Eliot's Four Quartets)



—Robert Millis 2019

(Excerpt from liner notes of the End Loop Henka)

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