As Kosuke Kato’s artistic expression evolved—moving from the figurative to the abstract, and subsequently to the semi-abstract—he became increasingly interested in the relationship between subjectivity and objectivity in painting. He chose landscape painting as the medium through which to explore this theme. Landscapes—or the land itself—are layered with the beliefs, institutions, societies, and cultures that have developed over long periods of time. Kato focuses on the sense of dissonance that arises when viewing a landscape through the lenses of the present and the past, memory and record. He visits these sites to photograph the scenery before him, using the camera as a tool to create distance from his own subjective perspective. By deconstructing and re-editing these images, he reveals the “discrepancy” between what is visible and what remains unseen. For his solo exhibition in Kamakura, he explores themes such as the Enoshima cult, the “Mitani Disturbance” in Kamakura, and the National Trust movement; meanwhile, for the KYOTO CURATION FAIR, he will present works centered on the *ukiyo-e* prints of Hiroshige. The term “unraveling” (hodokeru) in the title refers to the dissolution of a landscape as a single, fixed image, while “weaving” (amu) signifies the act of re-establishing connections among the elements that have been set free. As you stand before the work, I invite you to trace the shifts and overlaps that emerge between the colors and forms. You may find that the familiar landscapes we encounter are, in fact, places that “manifest anew” each time, shaped by the interplay of various relationships.