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自身のパフォーマンスを撮影、編集した映像作品と、そのパフォーマンスの舞台装置としてインスタレーションを制作する。アキバタマビ21では「転回する与太話」展に出品し、人の鋳型の出現を目論む《海の鋳型、身体の土手》を発表。無秩序に見えても、使用されるすべてのモチーフに意味がある。それらを選び取る根拠は彼の身体であるという。意味を物語として機能させているのもまた身体である。使い／使われる身体が生まれ育った福島という場所、その歴史や社会状況、そして現在活動する首都・東京との関係をさまざまな次元でモチーフに編み込んだ設えの、その空間に生成するものを見る時、私たちはただ傍観する気持ちではいられない。

Makoto Watanabe films his performances and edits them to create video works. He also constructs installations where his performances take place. At Akibatamabi 21, in the exhibition Revolving Idle Gossip, he showed The Mold of the Sea, the Banks of the Body, a work where he attempted to introduce to society a mold for humans. His works seem disordered, but in fact, all motifs that he uses have a meaning. The grounds for choosing them is his body, he says. What makes meaning function as a story is the body. Fukushima, the prefecture where his body, which he uses and which uses him, grew up; the history and social situation of Fukushima; and the relationship with Tokyo, the capital and where Watanabe works as an artist: these elements are, on many levels, woven into his motifs. These motifs are placed in the space, and when we see what are created there, we cannot stay bystanders.