儚くも経年劣化しないガラスを、消えゆく生や記憶を保管するための記録媒体と捉えて制作しています。

日常のささやかな気づき、尊い美、この地で生きここに支えられている自身の記録など、見えないものと変化していくものを可視化且つ留める方法を模索しています。

身近なものごとを拾い上げ、多様な技法を用いて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。

      

                                                     2022年 小曽川瑠那

​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.

 

In recent years, I have started to view glass as a medium for recording, and customs.  "Weaving Life"  has its origins in the daily blowing of spheres of glass, and photographing of landscapes spread before me. The traces of my breath, endowed with visual form, and rich and diverse working of nature join a document of myself with feet on this land, perhaps encouraging observations on the great hardiness of that land.
 

April 2022

Runa KOSOGAWA