![]() ![]() Mori's concern with spirituality developed into a study of ancient cultures in Rebirth, her solo exhibition at Japan Society in New York in 2013. The work conveys both the idea of accepting differences and the Buddhist notion of the interconnectedness of all things. Members of the audience become even more active with Oneness (2003), a group of six alien sculptures that light up when the figures are hugged. Dream Temple (1999), an architectural installation inspired by the 8th-century Horuji monastery in Nara, provided a more immersive experience by inviting viewers to walk through a covered salt garden and into the building to watch an animated film inside. ![]() The 3D film Nirvana (1996–1997) shows her as Kichijoten, the Japanese Buddhist goddess, surrounded by a band of animated musicians against a pale golden sky and a still body of water. In the mid-1990s, Mariko Mori began to incorporate religious iconography into her increasingly interactive work. Other works juxtapose the Japanese stereotypes of submissive women, such as the photograph Love Hotel (1994), which shows Mori on a circular bed wearing a schoolgirl's outfit, or Tea Ceremony (1995), a performance that saw her on the street offering tea to passers-by while dressed as an office worker. The performance Play with Me (1994), for example, involved the artist standing outside a toy store in Tokyo, wearing a long, twin-tail blue wig and futuristic armour-drawing parallels with manga characters in the advertisements on the shop window. Mori herself is the main protagonist in many of her early artworks from the 1990s, often portraying a cyborg or alien-like heroine in an urban environment.
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