《記憶のないカウボーイは庭にいる》とは、制作者が「どこで」「だれが」「どのように」と書いた紙をランダムに選んだ「庭」「カウボーイ」「記憶がない」の三つの語句を繋ぎ合わせた文章です。《記憶のないカウボーイは庭にいる》という一節のみを手がかりとして発想を広げ制作しています。

​記憶のないカウボーイは、本来いるはずであった牧場を離れ、どこの国か分からない整備された庭にいます。彼自身なぜそこにいるのか分かりません。絵画も同じように、絵の具は本来いるべきチューブから離れて布の上にいて、何故そこにいるのか分かっていません。前後の文脈を無視したものが任意のストーリーに変わり、本来何も意味を持たないはずの文章が作品によって意味を持ち始めます。それは絵画の性質そのものです。

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“The cowboy with no memory is in the garden” is a sentence formed by randomly selecting and combining three phrases—“garden,” “cowboy,” and “with no memory”—from slips of paper on which I had written “where,” “who,” and “how.” I expand my ideas and create the work using only this single line, “The Cowboy Without Memory Is in the Garden,” as a point of departure.

The cowboy with no memory has left the ranch where he originally belonged and now finds himself in a well-maintained garden in an unknown country. He does not understand why he is there. In the same way, a painting exists with paint removed from the tube where it originally belongs and placed onto the canvas, without knowing why it is there. Elements detached from their original context are transformed into arbitrary narratives, and a sentence that should have no inherent meaning begins to acquire meaning through the artwork. This is, in itself, the very nature of painting.