STATEMENT

What will the 2020s look like to someone a hundred years from now?

Ippei Takizawa's work begins with this question. Today's mass-produced figures are translated into glass through pâte de verre, an ancient glass technique, and enclosed within blown glass domes faceted through cold-working. In the process, a plastic object becomes something singular and lasting.

Through the faceted glass, the figure inside is visible but out of reach. It always appears slightly distorted, slightly out of focus. This is deliberate. Rather than showing the object clearly, the glass holds it at a distance, the way an archaeologist handles something fragile and not yet fully understood.

In a parallel series, Future Relic, Takizawa encloses the toys themselves, unaltered, within blown glass domes faceted through cold-working. Where Future Archaeology remakes the object in glass, Future Relic seals the original away, as if it had already been excavated from our present.

Neither series tells us what these objects mean. Instead, they ask what they might come to mean.