IN BETWEEN SPACES
Masamichi Gregg Miyagi
B.S., California State University, Sacramento, 2009
THESIS
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
ART STUDIO
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
SPRING
2011
IN BETWEEN SPACES
A Thesis
by
Masamichi Gregg Miyagi
Approved by:
__________________________________, Committee Chair
Robert Ortbal, M.F.A.
__________________________________, Second Reader
Andrew Connelly, M.F.A
____________________________
Date
ii
Student: Masamichi Gregg Miyagi
I certify that this student has met the requirements for format contained in the University format
manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for
the thesis.
__________________________, Graduate Coordinator
Robert Ortbal, M.F.A.
Department of Art
iii
___________________
Date
Abstract
of
IN BETWEEN SPACES
by
Masamichi Gregg Miyagi
The purpose of this paper is to delineate the concept methodology of my approach to the
making of objects. I will describe the manner in which observations and perceptions
apply as influences. Life experiences and learning’s will be explained in the context of
influences. The interaction between observation and perception to experience and
learning’s with regard to effect on the work shall be addressed. The work will be
analyzed to determine the support of the concepts or the failings. Resolution to
problematic areas with regard to content and structure will be discussed. I will identify
the material and the reasoning for those choices. I will discuss the process leading to the
iv
development of the thesis project. My thoughts and work remain in evolution and an
explanation for my position in continuance of work will be provided.
_______________________, Committee Chair
Robert Ortbal, M.F.A.
_______________________
Date
v
TABLE OF CONTENTS
Page
List of Figures…………………………………………………………………………..........vii
INTRODUCTION.....………………………………………………...………………………. 1
INFLUENCES…….. ....................................................................... ……………………….….2
PERCEPTIONS ................................................................................................................ …… 4
OBSERVATION ...................................................................................................................... 6
HYPOTHESIS .......................................................................................................................... 8
EXPERIMENTATION ........................................................................................................... 10
POSTULATE.......................................................................................................................... 15
vi
LIST OF FIGURES
Page
1.
Figure 1 “Insomnia-Jealousy, weaving the web”, Meech Miyagi. 2006…...….16
2.
Figure 2 “Insomnia-Worry, bearing the weight”, Meech Miyagi, 2007…….....16
3.
Figure 3 “Insomnia-Irritation, a bunch of wankers running amok”, Meech
Miyagi, 2008……………………………………………………………..….....17
4.
Figure 4” Insomnia-Pain, damages caused by a bunch of little pricks”, Meech
Miyagi, 2008.…………………………………………………………..….… ..17
5.
Figure 5” Insomnia-Anxiety, the continuous loop, multi-plays nightly”, Meech
Miyagi, 2008.………………………………………………………………......18
6.
Figure 6 “Insomnia-Anger, little jokers feeding the fire”, Meech Miyagi, 2008
…………………………………………………………………………..…...…18
7.
Figure 7 " Insomnia-Responsibility, crawling with indecision”, Meech Miyagi,
2006..………………………………………………………………….………..19
8.
Figure 8 “Insomnia-Ridicule, in a maze of other people’s judgments", Meech
Miyagi, 2007..………………………………………………………...……..…19
9.
Figure 9 Yoga Series, installed view, 2009……………………………………20
10.
Figure 10 Yoga Series, installed view, 2009…………………………………..20
11.
Figure 11 “Mudra 1”, Meech Miyagi, 2009.…………………..…….…..…… 21
12.
Figure 12 “Mudra 3”, Meech Miyagi, 2009…………………..………...……..21
13.
Figure 13 “Mudra 2”, Meech Miyagi, 2009…………………..………...……..22
14.
Figure 14 “Meditation Ring”, Meech Miyagi, 2009…………...……….….......22
15.
Figure 15 “between acceptance and resolution”, installed view………......…...23
16.
Figure 16 “between acceptance and resolution 1”, Meech Miyagi, 2010......….23
17.
Figure 17 “between acceptance and resolution 2”. Meech Miyagi, 2010..........24
vii
18.
Figure 18 “between acceptance and resolution 3”, Meech Miyagi, 2010...….....24
19.
Figure 19 “between acceptance and resolution 4”, Meech Miyagi, 2010.…...…25
20.
Figure 20 “between acceptance and resolution 5”, Meech Miyagi, 2010………25
21.
Figure 21 “Mindless Mindlessness 4”, Meech Miyagi, 2011……….....………..26
22.
Figure 22 “Mindless Mindlessness 1”, Meech Miyagi, 2011...……...……….…26
23.
Figure 23 “Mindless Mindlessness 2”, Meech Miyagi, 2011......…………….…27
24.
Figure 24 "Mindless Mindlessness 3", Meech Miyagi, 2011...……….…....…...27
viii
1
INTRODUCTION
A line is drawn between two points. The points represent the initiation and termination of life.
The line represents the direction and duration of the events between the two points. Every line
contains an infinite number of points that hold the potential to continue in an infinite number of
directions as a ray. The point and the ray represent a life choice and the implications of that
choice. The ray equates to the direction a life moves until the next point is selected. When a
choice is made, a point is placed and a new ray is initiated changing the placement of the original
point of termination. What results is an image displaying a visual history of the course of a life
defined by one’s personal choices. The previous demonstrates an approach to work using
analogy to convey an observation distilled to basic components quickly. This demonstration
provides a view into the thought processes that initiate and affect my work. The purpose of this
exercise is identify and explains the methodology I employ in making work. The purpose of this
investigation is to provide insight into my work. I will discuss personal history as influence,
precipitation of inspiration, delineation of thought, and the work. I believe presenting work
derived from observation then formulated in analogy can initiate thought and question
precipitating dialogue. Dialogue is the most important place where the art in my work resides.
My work is derived from observation of life, a place in between points.
2
INFLUENCES
The subject of influences appears to be a focus of interest when discussing artwork. This is a
perplexing topic; I cannot honestly site any artist or work as influence. The most potent affects
are my culminating life learning's and experiences. All my work starts as an occurrent interest.
Memory compiles images and facts that pertain to the subject of interest leading to the research.
I have minor explorations into the areas of; biology, physics, psychology, sociology, horticulture,
and philosophy. There are visual and conceptual equations and conclusions that can be drawn
across this milieu of topics. Everything has structure, pattern, cadence, and rhythm when
subjected to my mental processing. I was studying bacteriology when I began to notice
similarities between bacterial and host relationships with societal relationships. The occurrences
on a micro and macro level were in mimicry of each other. I equate symbiosis to the proverbial
win-win situation in society. The growth of bacterial and viral colonies have equations to human
interaction. The effects of the conditional requirements for bacterial and viral colonies were
visually apparent. The patterns of human interaction were apparent, but only when reduced to the
essence of the relationship. The relationships became analogous. This process informs my work.
This is an example of how life learning's and experiences remain my strongest influence and
affect my observational perceptions. My perceptions are derived from the spaces between the
categorical experiences of my life.
My work is precipitated from personal and social circumstance. My work is based in
observation. I often apply my memory of scientific method to initiate work and support my
observation. My thoughts and theories are supported or negated though social interaction. My
observations become my topics of conversation. Memories of personal experiences are added to
the collected information. This process can take one month to a year. The conclusions are
converted to an analogy and my sculptural work can begin.
3
My current topic of interest is happiness and the elusive balance of the mind, body, spirit
complex. My work for the last year is centered on the effects of the mind and its effect on the
body and spirit. The subjects I chose or that chose me were the process of resolution and belief
systems.. The observations were derived from me placed in a particular context. Data collection
was through dialogue with friends and others in my social sphere. I offer my eclectic and
eccentric palate for friendship as defense of my social sampling as it crosses continents and
culture to include a respectable range regarding race, age, sex, and socioeconomic categories.
Conclusions derived were reduced to basic characteristics and actions. The reductions are
translated to analogies, which describe the form of the body of work. The visual particulars are
defined through the analogy and by the form of the work. The choice of methodology identifies
an approach intrinsic to me that is applied to life as well as work. I contend the clearest
observation is derived from the interstices.
4
PERCEPTIONS
I am not a great artist nor am I a hobbyist. I am not intellectually brilliant nor am I stupid. I
am not handsome nor am I ugly. I am not young nor am I elderly. I am not important nor am I
insignificant. I am not unique nor am I normal. I am not good nor am I not evil. I am not
Japanese but I am not exactly American. I am not straight but am not exactly gay. I am not
wealthy but I am not exactly poor. I am what I am. I am using this exercise to define a point of
perception. The state of being in-between two points is relating to both but allying with neither
I am attempting to describe a metaphoric observation chamber or vista point of inspiration. I am
human and biased. The previous describes some situations from which my bias’ are derived.
The most imperative point is my perceptual stance is of being in-between. The perceptual stance
of being in-between provides more question than answer; it is the crux of my work. The being of
one thing or the other thing facilitates cause for question and in search of individual definition.
The placement of in- between disallows the acceptance and compliance to the ideology of one
subset or the other. Being in-between allows me to observe and understand the ideologies of both
subsets and demands choices with alignment to who I am. This is the big question. Who am I
and what do I believe? This is where the quest for a stable, sustainable happiness quotient began.
This is my work.
My work has always come from observation, but the manner in which I think and actuate has
affected by academic experience. My earlier work was directly born from social been
observation and discourse. My current work is initiated by observation and discourse, translated
to analogy, and executed with intent and consideration to include a discourse between the object
and the maker. It is judicious to clarify usage of some terms and elements that are repetitive
references in my work. Death is reference for transformation. Transformation is an important
part of progress. Transformation can apply to the mind, body and spirit. Energy is applied in the
5
manner of physical science. Energy is the substance that animates all and exist as potential or
kinetic. I believe all we are and do exist in the same manner and must be present in any life
reference or process. Reduction is the removal of specific information to reveal the basic
structure. Reduction reveals the truism of a relationship or circumstance. It is the honesty
revealed. I believe reduction is essential for choice and transformation. Fire is a common
reference in my work. Fire is a symbol of test. Fire is a vehicle of permanent change. I singe
and burn work to change and survival. My work is concerned with the quest for an increased and
sustained happiness quotient within the confines of current social convention. The previously
defined references are elements I believe to be essential to inform my work. My work is
addressing the processes I have discovered that facilitate progress in my quest. I contend the
unrealized individual has no potency in the trajectory of life. The following work has been
selected for significance with regard to previous statements and analysis for continual growth and
evolution.
6
OBSERVATION
The topic of interest in 2006 was insomnia (figures 1-8). I began to ask questions and plague
all conversational engagements with the topics regarding cause for insomnia. I started making
masks to depict insomnia using expression to depict cause. Metaphor was employed to accent
the facial expression through small figures engaged in the activity of the metaphor aided by
congruent visual elements. The Masks and figures were arranged on copper pipe configured to
the shape of mazes. This body of work concluded sometime in 2008. The work became
unsatisfying. I was merely illustrating circumstance.
Yoga became a topic of interest for work in 2009 (figures 9-14).
I had revisited the practice
of Yoga in my quest for the elusive mind, body, spirit balance as corollary to a stable happiness
quotient. I employed the standing poses that incorporated balance on one foot. These were
figurative sculptures in clay terminating between the stomach and chest and continued with sticks
to the completion of the figure. The choice of termination and the portion sculpted in clay
reference principles explored in massage therapy. The stomach is suggested to be the point of
storage for emotional issues and the heart the source of emotion. The feet were representative of
structural foundation and consequently sculpted in a truncated, awkward manner to signify an
emotional disposition. The legs were lumpy and awkward to depict the effect of the emotional
issues and are symbolic of the manner we move in the world. The figures were void of genitals
as the topic was not male or female. The figure and pose was loosely completed with sticks to
reference transformation and growth. The sticks were removed from the tree and died as one type
of transformation, but became the completion of a figure as another type of transformation. The
structures of the sticks inherently depict growth. The loose completion of the figure and yoga
pose referenced other forms such as the cornucopia, the oval of meditation and the hand or hand
7
mudra. This body of work was confusing, schizophrenic, unfocused, and weakly crafted. I have
placed these creatures on my front porch to remain in analysis of the errors. My first observations
were apparent. The clay feet were only stable on the surface of construction, consequently the
entire piece need to be balanced every placement. No element that I had carefully thought out
acted in the intended manner. The feet were simply truncated and poorly sculpted. The lumps
through the legs and torso did not show any tension from the interior and were simply lumps.
The lack of genital was unsuccessful as the figures maintained male characteristics. The sticks
appeared to be just sticks shoved into a vessel reminiscent of a poor flower arrangement. I had
crammed every thought good or bad into one work. Despite all the flaws, there was something
beautiful past the irritations. I learned and continued to learn much from this work. I had not
considered the material nor the affect and effect. I had been presented an opportunity for growth.
I was attempting to state too many thoughts in one piece. I was relying too much on metaphor. I
did not consider the materials, instead I was trying to bend them to my will. I did not spend
enough time considering how the work was functioning. My best analogy is I was talking far too
much to listen.
8
HYPOTHESIS
I returned to the studio determined to resolve the errors of the previous body of work. I began
to sculpt a foot in clay. This foot was wrong. I started to sculpt another foot that was also wrong.
I was approaching the problem in the same manner that initiated the errors. I had to change my
approach. I abandoned clay for the time in hope of curtailing habitual practice. I have been
working in clay for over twenty years. The stick became the focus of my thoughts and the
material of choice.
The second error that demanded consideration was the reduction of content. What was the
significance of the stick? The stick referenced transformation and growth. What are the qualities
of the stick that support the concept of transformation or growth? The very nature of being a
stick is significant to transformation. A stick attached to a tree is a part of that tree and identified
as such, a component. The stick removed from the tree becomes a separate identity, an
individual. This individual stick demonstrates a history through growth pattern and the crosssectional ring that depict time. The growth pattern visually demonstrates the circumstance of life
concerning nutritional requirements such as water and sunlight. The density and tensile strength
show the availability of water. The length and direction of any segment demonstrates the
availability of sunlight. The growth patterns carry the qualities of line, emotion, posture, and so
on. The sticks provided the opportunity to work with chance as they have structural categories
and similarities but none is the same..
I began to consider the aspects or conditions for transformation that were not demonstrated by
the sticks. Completion of a cycle was the missing component. I began to wrap the stick with
tissue paper. Paper originated from the tree. Paper is the product of processing of the tree. Paper
references process and transformation. Wrapping the sticks with paper refers to return to origin,
the completion of a cycle, and transformation, the emergence of a new entity. The new entity is
9
created from theoretically components of self. The task of wrapping the sticks allowed as a
mindless and meditative task. I made some work with these wrapped sticks. The work was
lacking. I became mindful in the task of wrapping the sticks gaining an understanding of how
each stick moved, what the posture was, and the emotion of the structure. I was amazed at how
some sticks were complete compositions. I began to use this information while sculpting. This
material demanded consideration. This fact was exciting and proved frustrating. I find myself
with a room full of wrapped sticks but none is the right conformation. A general understanding
of how to work with this material had taken seven months and I have yet to explore numerous
possibilities. I became engrossed in thinking about mental and emotional process. A simple
substance, a stick, had altered my approach.
10
EXPERIMENTATION
The end of summer 2010 brought with it a personal tragedy. I entered into a state of mental
and emotional process. I began to work the process through sculpting the figure. The figure
seemed appropriate, as the circumstance was distinctly human. The resultant body of work was
titled “between acceptance and resolution” (figures 15-20). It was important that no
capitalization be used in the title because the process I was addressing has no consideration of
formality. The individual pieces are numbered in the order of the process. Upon entering the
gallery, the viewer must pass through a corridor of singed scroll written in an unrecognizable text.
In 2008, I began an exploration of beliefs through a created text. I wanted this text to appear
ancient and important but mean nothing. I singed the scroll to reference fire. Fire produces
permanent change. Fire can be a powerful and destructive force. I hoped to inundate the viewer
with words that hold no meaning. I am self-absorbed initially when confronted with personal
tragedy and any words given seem to be suspended outside of me.
The first figure is constructed with natural sticks. The figure is cloaked and some pieces of
paper with text are trapped in the sticks. The posture is of inflection and the figure is meant to
shift from peaceful like the Madonna (an initial read) to cautionary or frightening. This is to
reference the response of other when it is not clear as to how to approach the individual in
emotional distress.
The second figure is covered in text. The form resembles a body contained in a body bag.
This is the point in process when all the internal and external become indistinguishable and the
individual is struggling to form some truth or find sense in the situation. The individual is
contained by a plethora of thoughts unable to disengage from the dialogue.
The third figure stands as if braced against a strong wind. The sticks trail out of the back of
the figure accenting the suggestion of wind. Scraps and fragment of text trail behind the figure.
11
There are sticks wrapped with text incorporated into the construction of the figure. I hoped to
describe the individual returns to a position of stability. The individual maintains ground while
all the facts of the event and the words that paralyzed them are blown out and away. The words
that remain incorporated are the beliefs and facts that remain true and will serve as the basis for
resolution. I had hoped that the viewer would walk around the figure disturbing the scraps to
indicate that throughout the process the word shift, change with the interactions, and advise of
others. I could not devise a visual cue that would invite the viewer to walk around the figure.
The derivation of devices to invite the viewer to interact with work remains a conundrum for
resolution requiring social observation to determine threshold responses.
The fourth figure is kneeling with some scattered scraps of text in front of it. The figure is
headless and armless. The legs and feet are densely constructed and the torso is loosely defined.
The construction of the legs and feet are to suggest a firm connection to the ground . This
connection to the ground is affirming reestablishment of stability. The flow of the piece is
movement up and out of the torso minimally contained by a small knob on the end of the stick
that suggest the neck and head. The intent of this piece is to describe the point of process that
bridges acceptance and resolution. The flow of the piece refers to the return to a position of
clarity from which resolution is derived. It is representative of reestablishment of order in the
self. The scraps of texts and the posture of the figure refer to the selection of pertinent
information to facilitate resolution. The lack of arms suggests the inability to receive or reach
out socially. The loose construction of the torso and the suggestion of the head indicate the
position of the mental and emotional state. The symbolism of the body parts is derived from
body reading in massage therapy.
The final figure is headless, armless, supine, and partially suspended. One foot of the figure
touches the ground and the remainder forms an angle to the ground. Sticks suggestive of upward
12
movements are suspended from the ceiling. Linear sticks are scattered on the ground trailing
away from the top of the figure. This piece was extremely perplexing. I was not convinced of
my own resolution. Resolution is mutable regarding time. The specifics of the figure regarding
the head and arms have been previously discussed. The figure is more complete that the
previous. The position is to suggest that some resolution has been achieved. The partial
suspension suggests the transient nature of resolution. The suspended and scattered sticks
represent possibilities and conflicts as factors of future resolve. I have deconstructed this final
piece and a new piece will be made if I show this work in the future. I believe making a new
piece is more correctly reflective of resolution. Resolution is specific to the individual.
I returned to the topic of belief systems in 2011. The last body of work and life presented
many challenges to personal beliefs. I began to consider the manner of construction and the
effect of my belief system. The best analogy was the vortex. Rules and facts are gathered and
float about coming into perception and fading obscurity. These decisions, facts, and rules can lift
up, drag down, suspend, or evacuate us. We can be the vortex as well as inside or outside of it. It
is my contention that belief systems are the same when reduced to basic function, the action and
effect. The vortex is the perfect form for this topic. The position of individual can shift between
being the vortex and affected by it upon application of the analogy. The vortex occurs in great
variety from the nautilus shell to the galaxy.
The appropriate substance to construct these forms are sticks. The construction or acceptance
of belief systems involves numerous transformations. The wrapped stick can suggest
transformation, completion of a cycle, and cloaking the self. The cut stick can signify time,
history, and exposure. The stick that is broken off can allude to time, history, exposure, and
systemic failure. A straight stick can carry all the connotations of a straight line as well as, truth,
duration, singularity, and durability in this context. Stick that are curved and branch can hold the
13
connotation of line as well as deviation, corollaries, and community. The connection between
the sticks is accomplished with copper wire. The connection can be the union of two or more
sticks infer all interaction with self or others. The wire connector refers to the power source or
energy. We expend energy to hold belief systems together as individuals and communities. The
copper wire connects the stick in a variety of ways to suggest the possibilities of the expenditure
and conduction. The expenditure and conduction can be positive or negative. The most interior
connection of the vortices appears menacing and as you move up the form, they move to the
outside and are protective or congruent. I have completed four vortex forms that I feel operate in
a specific manner implicating a specific belief systems.
I have titled this body of work “Mindless Mindlessness” and am numbering the individual
vortices (figures 21-24). The title refers to the construction of the belief system and the
mechanisms of affect. I have concluded that the individual does not remember why or how they
have come to a particular belief but will argue to maintain that belief. I have found myself in
this predicament to my detriment and perpetually question the validity of my beliefs. I am in
pursuit of a stable happiness quotient. The first vortex is attractive, lyrical, and almost charming
as a mode of operation. The viewer is drawn in closer and upon inspection, the vortex functions
as all vortices or belief systems. This is a depiction of my belief system in operation and
function. It is small as my belief system is in constant revision but maintains the magnitude of
danger of all others. This is the only belief system I will identify. I would prefer the viewer make
the identifications, as it will be revealing of his or her own belief system. The second vortex is
large and rests on the ground, lumbering and benign. This vortex has interior pockets that seem
restful and inviting. The restful pockets are disturbed by the interior wire connector just beyond.
The wire connectors shift from the interior to the exterior as you move up the structure. The
placements of the connectors suggest the shift in affect from protective to precarious of the
14
system. The third vortex is tall and supported by legs. It leans forward slightly. This vortex
appears active in bringing the individual to it as operational modality. Perception can shift to
feeling this vortex can pursue and capture. The fourth vortex has a beauty that attracts the
individual. The viewer can follow the line to the center of the vortex revealing the connecting
wire that resembles spikes. The description of this work is based on my intent. I am excited to
the possibilities of this form and the continuance of the dialogue on this topic.
15
POSTULATE
I am what I am. I returned to academics for accreditation on the recommendation of a
gallery owner. My impetus shifted to becoming a better artist due to the dedication and expertise
of the faculty. The return to academics provided the space and information to hone my thoughts,
skills, and define myself. I was compelled to consideration of every aspect of the work.
Dialogue came to the forefront as the most important aspect of the work. Dialogue concerning
the topic of choice provides question and information to solidify the validity of the work.
Dialogue between the maker and the work is essential to strengthen the individual piece and the
relationship within the entire body of work. Dialogue and question precipitated in the mind of
the viewer, is for me, the most important component of the work. Material is selected with
considerable rumination on how it informs the work. The material must be utilized with regard to
its substance nature. My work addresses human process and some aspect of the mind, body,
spirit balance in the pursuit of a stable happiness quotient. I have learned to hone the subject
matter to more clearly convey the thought and corollaries. I have found placement and solace as
the maker. I want no more that this simple designation allowing the work to do and be what it
will. I am not important nor am I insignificant. I am what I am. I remain in-between, in
process, with resolve residing in continuum.
16
FIGURES
1.
2.
"Insomnia-Jealousy, weaving the web", Meech Miyagi, 2006
"Insomnia-Worry, bearing the weight", Meech Miyagi, 2007
17
3.
"Insomnia-Irritation, a bunch of wankers running amok", Meech Miyagi, 2008
4.
"Insomnia-Pain, damages caused by a bunch of little pricks", Meech Miyagi, 2008
18
5.
Insomnia-Anxiety, the continuous loop, multi-plays nightly”, Meech Miyagi, 2008
6.
“Insomnia-Anger, little jokers feeding the fire”, Meech Miyagi, 2008
19
7.
”Insomnia-Responsibility, crawling with indecision”, Meech Miyagi, 2006
8.
“Insomnia-Ridicule, in a maze of other people’s judgments", Meech Miyagi, 2007
20
9.
10.
Yoga Series, installed view, 2009
Yoga Series, installed view, 2009
21
11.
“Mudra 1”, Meech Miyagi, 2009
12.
“Mudra 3”, Meech Miyagi, 2009
22
13.
“Mudra 2”, Meech Miyagi, 2009
14.
“Meditation Ring”, Meech Miyagi, 2009
23
15.
“between acceptance and resolution”, installed view
16.
“between acceptance and resolution 1”, Meech Miyagi, 2010
24
17.
“between acceptance and resolution 2”. Meech Miyagi, 2010
18.
“between acceptance and resolution 3”, Meech Miyagi, 2010
25
19.
“between acceptance and resolution 4”, Meech Miyagi, 2010
20.
“between acceptance and resolution 5”, Meech Miyagi, 2010
26
21.
22.
“Mindless Mindlessness 4”, Meech Miyagi, 2011
“Mindless Mindlessness 1”, Meech Miyagi, 2011
27
23.
“Mindless Mindlessness 2”, Meech Miyagi, 2011
24.
“Mindless Mindlessness 3”, Meech Miyagi, 2011