"Man is a thinking reed." So said Blaise Pascal.
The "Merry" project possesses the means of finding a path to future growth and development, and this is where it differs from the many other forms of art. "Merry" got its start when art director Koji Mizutani snapped a photo of some smiling young girls he came across on a bus when traveling in the U.S. in the spring of 1999. The girls were innocently playing with their friends, oblivious to the passing scenery. The smiling faces of these girls were aglow with a bright and carefree happiness, and it struck Mizutani that these were precisely the kind of smiles that could not be captured in design.
These photos, with their mysteriously whimsical power, were first published in November 1999 in the photo collection "Merry/The Never-Ending Merry-Go-Round." Soon after, in January 2000, the entire Laforet Harajuku building was used to present "Merry at Laforet 2000." Up to this point, we saw the art expressed in a standard format, but Mizutani was gripped by a growing concern that just lining up a group of panels might be insufficient to arouse in viewers the kind of feelings he hoped to generate. Such misgivings gave rise to an interesting departure from the regular exhibition format, and it is here that "Merry" took to the streets, where it came face to face with the public and began to grow.
Almost everyday, Mizutani stood on the streets of Harajuku and trained his lens on the smiling faces of passing young girls who then contributed a written "Merry" message. When these panels were put on exhibit in a museum, the voices of the girls, who were his photographic subjects, could be heard over small speakers as they related their dreams and loves in life, which afforded the exhibit a sense of interaction. A sign told visitors, "Have your Merry made into a poster," and for the duration of the exhibition photographs were taken of the smiling faces of the viewers on the spot, made into full B-size posters, and then arranged to cover the walls of the exhibition venue. Mizutani was in pursuit of the kind of interaction that consumes the senses. An idea evolved, as does the "thinking reed," that went on to propagate a multitude of smiles.

"The way of tea is the spirit of beauty. If a new form of beauty came into existence, it would give rise to yet another way of tea." So said anagiThe force of the "Merry" smiles is starting to initiate a directional shift in media technology. In May 2001, the year of Japan, as well as the 100th anniversary of the Anglo-Japanese Alliance Treaty, "Merry -Tokyo Life-" was held at Selfridges London department store as the centerpiece event of "Japan 2001." At the same time, "Merry -London Life-" was held at Laforet Harajuku in Tokyo, and the two "Merry" exhibit venues were joined via Internet and i-mode, thus creating a live installation in which the audiences of each exhibit exchanged their "Merry" messages with one another. Plans are currently under way to join the Astro Vision in New York with that in Tokyo.
Technology is advancing at a blinding pace. What it lacks, however, is a philosophy that can provide direction and fulfillment. "Merry," on the other hand, appears to be a new kind of visual art that provides ideals to foster mutual understanding that is rich and productive. In other words, form guides the spirit of beauty. The face is like a window on the heart, and a smile is the utmost tool for joining the hearts of people. With a smile as software, "Merry" just might latently possess what should be the guiding principle for the construction of the latest telecommunication company infrastructures and the interface technology of electronics manufacturers.

"War is over, if you hope." So said Yoko Ono.
Whenever someone recalls the sources of one's own happiness, the fond memories or dreams, the face of that person beams with the bright innocent smile of a little boy or girl. Mizutani set out to painstakingly document this smile, which in turn provided people with the impetus for intercommunication. And though he was the primary advocate, the force of people's positive attitudes has been a source of encouragement to Mizutani.
For example, as part of the "Kobe 21st Century Restoration Project," a "Merry Exhibit" was held showing the smiling faces of the people of Kobe having lifted themselves up from the damage of the Great Hanshin-Awaji Earthquake. The people of the city who were the subjects of the photographs offered their services as volunteers and succeeded in having a local newspaper company publish a collection of the photos. "Merry" is unquestionably moving people to action.
"Merry" seems on the verge of delivering this "people power" in the service of such areas as social welfare and environmental issues in a movement that will unite the world. Planning is currently under way to use "Merry" as a communication model at a near future's big event, where the theme, "Let's Make Our World a MERRY One," will be used to engage people's interest in and concern for the environment as a means to create a sense of world community. It is an attempt to create mutual understanding in order to provide the impetus for tackling such problems as disposal of waste and the increasingly ravaged natural environment.
A wish will move the world. The power of a smile, which goes beyond that of words, can suggest a path by which people can live together; it can serve to bind the whole of humankind. And people are beginning to recognize that this is not simply a frivolous and unattainable ideal. Just as living organisms make their homes the world over, so too will "Merry" continue to evolve as it sets out upon an imminent journey bringing people together. "Merry" is a paean to people living in harmony, and the world awaits to hear its triumphant melody.