飛騨高山に移住後、長い時間をかけて育まれてきた自然豊かな土地と地に根づく暮らしに魅了されるも、過疎化 などの社会問題を身近に感じ、風化してゆくものやこと、身体の記憶、慣習といった日常や土地にまつわる記憶 をどのように留めるかについて、関心を寄せています。
Diary : Translating Flowers
My approach to my art comes from observing the small things and events that are normally obscured as we go about our busy daily lives. This evolved from my personal experiences when people very close to me became ill. While I took care of them as they faced death I realized how precious our ordinary days are as well as the small daily events that often pass unnoticed. That was when I began to keep notes from day to day about these little things I observed.
I began to feel that my thoughts seemed to match the language of flowers, and that is when I started to create pieces based on images of flowers. Glass gives me a sense of transience that can mirror or reflect the imagery of flowers and is the right material for me to reflect the themes of my work.
In Japan, our ancestors often painted flowers and tiny insects that expressed the ephemeral and transient nature of life. I feel that glass is a natural medium for expressing the images in my mind as a form of art.
As an artist I experienced an important change in 2012 when I moved to Hida-Takayama which is rich in natural beauty. Previously I had always lived in urban residential areas where I never felt emotional connections to place. As I started my new life in Hida-Takayama I began to understand for the first time the deep connection people have to the place where they live...the sense of belonging. I also began to understand the grief and pain people felt when they were forced to leave their land and when they were separated from loved ones. Since that time I have been focusing on the conflicts and contradictions in our societies and also on the importance of passing on the stories of war and environmental problems to future generations. That is why I am working on the theme from 2014--enquiring about the value of our lives--for which I am using black colored glass.
I have chosen glass as the medium for my artistic expression because of its fragility and tendency to break; I do not see these cracks as a negative outcome, but instead I use these imperfections in my work as a serendipitous occurrence of form. Ceramic art is very different because irregularities, deformities, cracks and imperfections are often appreciated. I am trying to adopt this same ‘casual’ attitude of ceramics in my use of the hard material of glass, with all of its inherent characteristics. I now understand that it is possible to be free of “perfect beauty” when working with glass. I have a feeling this may derive from our Japanese concept of accepting nature as it is, and coexisting rather than confronting it.
And with the COVID-19 pandemic, we realized that we can never know when we might lose our lives, and we could appreciate the vigor of nature when our movements were restricted. I started production on works for my Weaving Life Project 2021- which also comes under the theme of “Documenting the land and its lives.”
When I encounter something beyond my imagination, I have the feeling that the needle on the compass of my mind disappears. I hope this leads me to something never before noticed, and therefore a step closer to the answer to my questions. This has led me to where I am today.