Every day, people are exposed to a massive number of images, including various scenes they see on their smartphones, images they have preserved as memories, and various others which are continuously copied and distributed in different ways. Rather than merely being processed as information, these images have impacts on our memories and perceptions. Kisho Kakutani takes images snapped on smartphones and adds noise, blurring and other alterations to create more obscure, less defined pictures. In this way, he aims to eliminate the functions of those photos as practical vehicles of visual information while simultaneously supplementing the images with the memories and experiences of viewers. The illegibility of the resulting visuals does not act as a mask; rather, it stirs the imagination and provides opportunities for new realities to spring forth. Reo Kikuchi, on the other hand, restructures images through repetitive hand alterations as a means of exploring the relationship between the original and their copies, and between the individuality and reproducibility therein. The subtle differences realized by displaying repeating versions of the same image make the viewer question their visual perception frameworks and cognition which enable acceptance of these things as natural phenomena. The artists harness different methodologies, yet they share the same core exploration of how we visually perceive things. In contrast to Kakutani's piquing of imaginative thought through deletion and omission, Kikuchi manifests disparities through the use of repetition. Both cases utilize the pictorial medium not as a means of re-creating the subject, but instead as a tool for transforming people's perceptions and awareness. Kikuchi's and Kakutani's art trigger unexpected reactions within the viewer rather than conveying something clearly and plainly. Said reactions take the form of memory recall, image complementation, cognitive fluctuations, and doubt cast upon established values and views. These "side effects" lead to deeply meaningful experiences via the works being viewed. By communicating through art that utilizes the two disparate approaches of removal and repetition, the two artists delve into the uncertainty of visual experiences in our contemporary age while searching out new potential in perception that surfaces beyond that threshold.