​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 now working on a new theme--enquiring about the value of our lives--for which I am using black colored glass.

 

I am reminded of an event when I was a child.  I did not know what color to use to draw the sun. In books I had seen the sun depicted in orange, but the sun did not really look orange to me.

The way I think now has not changed since I was that little girl, because I often question so called ‘common knowledge’ wondering if what we think individually is really true or accurate? 

 

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. 

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.
 

​October 2016

Runa Kosogawa

​気づきを紡ぐ

経年変化しないガラスを記録メディアと捉え、日常のささやかな気づきや尊い美を記録する試みを行っています。

2014年より制作している《深い静寂》は、2011年の東日本大震災と翌年の飛騨高山への移住を機に、命の問いをテーマに掲げた作品です。高齢化問題、医療崩壊など地方が抱える問題を身近に感じる生活を送るなかで、消えゆく慣習、戦争や公害の風化など社会問題に意識が向くようになりました。この気づきから命を語り継いでいく重要性に焦点を当て、トルコギキョウ・ユリ・キクなど手向けの意味をもつ花々を制作しています。

近年は、日記のように日々ガラスの球を吹いて自身の生の痕跡を記録していく《息を織る》、自宅周辺の豊かな風景をガラスに留める

《けしきを織る》に取り組むほか、制作過程で生じたガラス粉を当時の時間・大気・水を留めた記録物と解釈し、それらを可視化する試みも行っています。

 

身近なものごとを拾い上げ、多様な技法と素材で出力の幅を拡げながら、記録する行為を積み重ねているところです。

      

                                                     2021年 小曽川瑠那