LO: How does Japanese culture view this art-form in relation to how the West views it?
HK: Western culture has an idea of eternal beauty, in contrast to the beauty of extinction which is inherent to Japanese aesthetic senses. Therefore I think people find beauty from Kinbaku because eventurally the rope must be untied, it will not stay forever.

LO: What does it mean to you to be performing in New York City?
HK: I believe New York is one of the most modern cities in the world. It is very much an honour and challenge for me to perform here. I think American people are very honest with their feelings, they say good is good and bad is bad. I believe getting honest opinions from people in New York City will change the image for Kinbaku in Japan. I am very happy and appreciative to receive warm applause and positive messages from people in New York City.
A: This is a great opportunity and it may change the passive way of thinking held by traditional Japanese people. In Japan, there are only a few people who recognise the beauty of Kinbaku as an art. I am honoured that it was recognised by the Museum of Sex, making it possible for us to perform in New York City, it means a lot to me.

LO: To what extent is trust involved in between the rope master and the subject?
HK: I believe the rope master and the subject must have a deep trust between them. When the model is tied up, she can not move and there is a risk to getting injured. In that situation, I can not tie her without her trust. I feel an appreciation and responsibility at the same time, I want to make her beautiful in return for her trust.

LO: What has kinbaku taught you about yourself
HK: To cherish connections with people.

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Keith Haring/Robert Mapplethorpe Sony Cassette-Corder (c1970s/80s) $10,000

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