Redline (2001) is a painting composed of narrow red panels connected along the floor for approximately sixty-four meters around the second-floor entrance corridor of Kanazawa College of Art. It departs from the frontal condition of a wall-mounted painting: no single position allows the whole work to be seen, and the viewer encounters it while moving through a space ordinarily used for passage.

Only fragments enter the field of vision. Yet as the viewer walks, the currently visible band is joined in memory to the sections already passed and those expected to appear next. A whole therefore takes form internally even though it is never visually confirmed. The continuous red line also moves through stairs and turns, repeatedly changing the relation between inside and outside and refusing a stable viewing position.

The work asks how body and perception construct an unseen totality. Red attracts attention and seems to indicate a direction, but over sixty-four meters that directional force becomes saturated; the line guides and disorients at the same time. The question of an invisible whole, first developed within painting, is here transferred into movement and architecture and continues into KAMI.