In the 18th century a Shinto priest named Hideaki saw a Karakuri doll (a clockwork robot made of wood) and claimed that in the future we will create mechanical characters that will become so superior to our own intelligence and ability’s that we will subject ourselves to them as if they were gods.
AUJIK shares Shintos belief that everything of nature is animated, even those things that we consider to be the most artificial and synthetic which border the realm of the abstract. To them science and technology is considered as sacred as stones and trees and imbued with a universal sentience.
This is fundermental to AUJIKS doctrines which aims to represent the chaos of original nature (trees, metals, organism etc) in duality to the ordered nature of refined nature (computers, robots, DNA-manipulation, etc), it explores the relationship of the two and the nature of existence.
By reflecting on it’s doctrine through the creation of artwork of an organic/synthetic nature, AUJIK hopes to facilitate the evolution of mankind.
“And the places they most haunt are the loveliest — high shadowy groves where the uguisu sings in green twilight, above some voiceless shrine with its lamps and its lions of stone so mossed as to seem things born of the soil like mushrooms.”
“This first fallen snow
is barely enough to bend
the jonquil leaves” - Matsuo Bashō