The intersection of identity, memory, and history is taken up in Simon Fujiwara’s complex multimedia practice. The British-Japanese artist takes real world structures, thoughts, and events as his subject, constructing idiosyncratic narratives that emerge from these miasmatic creations. This work chronicles current conditions even as they demand attention in their capricious, oftentimes uncomfortable forms. While his practice borders on anthropological in its examinations, the products that derive from his work often turns their speculation towards the work’s viewership, who become affectively compelled to examine their own subjectivity in interacting with Fujiwara’s oeuvre.