U n c o n ta i n e d E x c i t e m e n t -W o v e n S c u l p t u r e
J a pa n -
June 28 - August 17, 2012 CAVIN-MORRIS GALLERY
UNCONTAINED EXCITEMENT -WOVEN SCULPTURE FROM JAPANJune 28, 2012 â€“ August 17, 2012
Cavin-Morris Gallery is pleased to announce Uncontained Excitement: Woven Sculpture from Japan, an exhibition opening June 28th, 2012 which will present the work of 14 sculptors who have expanded and veered from traditional craft, making sculpture rooted in basketry, but using organic and inorganic materials not part of the basket heritage of Japan. Few of these works are strictly functional. None of the artists have been previously shown in the United States. This group represents the second, third and fourth generation of artists breaking away from traditional bamboo forms, who use materials ranging from palm fronds to sheets of industrial plastic and paper packing tape. Some of the artists were inspired by, or were students of Chizu Sekiguchi, who herself was inspired by Hisako Sekijima (not in the exhibition) who came to the US in the late 1970â€™s and was herself inspired to push the envelope by the work of Ed Rossbach, John McQueen, and Kay Sekimachi. Rossbach was one of the first artists to recognize and push the best of the field of New Basketry as fine Contemporary Art. This is still not an easy path in either the East or West. This exhibition allows a group of smaller works to speak volumes for these new sculptural forms, astonishing in their wide range and conceptual complexity.
Michiko Fukai Point of Contact I, 2004 Stainless steel, rattan, vinyl chloride 9.45 x 11.81 x 11.81 in/24 x 30 x 30 cm MFu 1
Michiko Fukai Point of Contact II, 2009 Stainless steel, rattan, vinyl chloride 5.12 x 8.27 x 11.81 in/13 x 21 x 30 cm MFu 2
Michiko Fukai An After Image I, 2007 Rattan, vinyl chloride 7.87 x 7.48 x 9.45 in/20 x 19 x 24 cm MFu 3
Michiko Fukai An After Image II, 2010 Rattan 9.84 x 10.24 x 9.84 in/25 x 26 x 25 cm MFu 4
Yasuko Hoshino Beach, 2009 Paper band 5.91 x 7.87 x 9.84 in/15 x 20 x 25 cm YHo 1
Yasuko Hoshino Situation, 1997 Paper 15.75 in/40 cm YHo 2
Yasuko Hoshino Lateness, 2009 paperband 11x 9x 12.5 in/28 x 23 x 32 cm YHo 3
Yasuko Hoshino Tide, 2009 Paperband 10.25 x 15 x 10.5 in/26 x 38 x 27 cm YHo 4
Sachiko Itabashi Tsubomi No. III, 2009 Crystal vinyl seat, thread fold, knot 7.09 x 7.09 x 4.33 in/18 x 18 x 11 cm SIt 1
Sachiko Itabashi Tsubomi No. V, 2009 Crystal vinyl seat, thread fold, knot 5.91 x 13.78 x 13.78 in/15 x 35 x 35 cm SIt 2
Sachiko Itabashi Tsubomi, No. VI, 2010 Crystal vinyl seat, thread fold, knot 7.87 x 7.87 x 7.87 in/20 x 20 x 20 cm SIt 3
Sachiko Itabashi Tsubomi, 2007 Crystal vinyl seat, thread 7.87 x 19.69 x 7.87 in/20 x 50 x 20 cm SIt 4
Ritsuko Jinnouchi Off the Point #14, 2008 Cane, Wild vine 9.06 x 5.51 in/23 x 14 cm RJi 1
Ritsuko Jinnouchi Effect of Holes #24, 2010 Plaiting and Melting Polypropylene tape 11.81 in/30 cm RJi 2
Ritsuko Jinnouchi Bottoms and Spaces 1 #33, 2011 Cane dyed with natural Kibushi tree 13.75 x 12 x 13.75 in/35 x 30 x 35 cm RJi 5
Ritsuko Jinnouchi 6+1, 6-1 2nd #37, 2012 Bamboo, cotton thread (beeswax) 15 x 9 x 13 in/38 x 23 x 33 cm RJi 6
Mieko Kawase Wind, 2011 Wire, branch, washi, paper yarn 4.5 x 9.5 x 4.5 in/11.4 x 24.1 x 11.4 cm MKe 1
Mieko Kawase Orange Light, 2011 Wire 3.75 x 4 x 3.25 in/9.5 x 10.2 x 8.3 cm MKe 3
Mieko Kawase Air Basket, 2012 Wire 4.33 x 6.69 x 6.69 in/11 x 17 x 17 cm MKe 5
Mieko Kawase Green Light, 2012 Wire 3.94 x 5.91 x 5.91 in/10 x 15 x 15 cm MKe 6
Yukari Kikuchi Line, 2006 Pinus, kazinoki 5.5 x 10 x 10 in/14 x 25 x 25 cm YKi 1
Yukari Kikuchi Roll Up, 2004 Amur cork tree 6 x 8 x 8 in/15 x 20 x 20 cm YKi 2
Yukari Kikuchi Woods, 2008 Walnut, willow, Amur cork tree, Redvein maple, Crimson Glory Vine 6 x 12x 12 in/15 x 30 x 30 cm YKi 3
Shigeru Matsuyama Heaps #8, 2006 Leather, tieband, pierced coiling 7.09 x 10.24 x 10.24 in/18 x 26 x 26 cm SMt 1
Shigeru Matsuyama Heaps #10, 2009 Leather, tieband, pierced coiling 6.69 x 13.78 x 11.81 in/17 x 35 x 30 cm SMt 2
Shigeru Matsuyama Nest, 1999 Leather, leather thong, pierced coiling 6.69 x 13.78 x 13.78 in/17 x 35 x 35 cm SMt 3
Shigeru Matsuyama Heaps #9, 2007 Leather, tieband, pierced coiling 7.09 x 11.02 x 16.14 in/18 x 28 x 41 cm SMt 4
Akiko Mio Kagokarakagoka, 2009 Plastic, wire 9.84 x 9.84 x 3.94 in/25 x 25 x 10 cm AkM 1
Akiko Mio Seed of Oryza Sativa, 2010 Plastic, wire 15.75 x 9.84 x 3.94 in/40 x 25 x 10 cm AkM 2
Hiroko Okuno The Challenge of Materials 1 Akebi-vine, cherry tree bark, kokuwa 17.72 x 17.72 x 17.72 in/45 x 45 x 45 cm HOk 1
Hiroko Okuno The Challenge of Materials 2 Akebi vine, cherry tree bark and branch, Kozo bark 13.75 x 23 x 10 in/35 x 58 x 25 cm HOk 2
Hiroko Okuno The Challenge of Materials 3 Akebi vine, cherry tree branch, Kozo bark, wool 28 x 8 x 9 in/71.1 x 20.3 x 22.9 cm HOk 3
Chizu Sekiguchi Seed Basket, 2008 Windmill palm 9.06 x 5.91 x 13.39 in/23 x 15 x 34 cm ChS 1
Chizu Sekiguchi Windmill Palm Coral, 2008 Windmill Palm 13.39 x 8.66 x 8.66 in/34 x 22 x 22 cm ChS 2
Chizu Sekiguchi Flow, 2012 Windmill palm 11.81 x 7.09 x 17.72 in/30 x 18 x 45 cm ChS 5
Chizu Sekiguchi Net Shell, 2012 Windmill palm 10.63 x 7.48 x 9.45 in/27 x 19 x 24 cm ChS 6
Chizu Sekiguchi Pattern of Hexagon, 2011 Windmill palm 9.45 x 9.45 x 9 in/24 x 24 x 23 cm ChS 8
Chizu Sekiguchi Sea Anemone, 2012 Windmill palm 6.3 x 6.75 x 10 in/16 x 17 x 25 cm ChS 9
Shizuko Takahashi Wriggle Hemp 4.25 x 10.75 x 16.5 in/11 x 27 x 42 cm STa 1
Shizuko Takahashi Untitled Hinoki 9 x 5.5 x 2.375 in/23 x 14 x 6 cm STa 2
Shizuko Takahashi Sphere Chinese Moonseed 4.5 x 4.5 x 4.5 in/11 x 11 x 11 cm STa 3
Mayumi Tsukuda In and Out, 2009 Paper, paper cord, wax linen, nylon thread 13.78 x 16.93 x 13.78 in/35 x 43 x 35 cm MTk 1
Mayumi Tsukuda Wrap, 2005 Nito vine, paper cord, wax linen 16.93 x 16.93 x 15.75 in/43 x 43 x 40 cm MTk 2
Mayumi Tsukuda Nature Dancing, 2006 Korean paper, kimono fabric, rattan, bamboo, nuts, Juzu beads 9.84 x 9.84 x 11.42 in/25 x 25 x 29 cm MTk 3
Mayumi Tsukuda Art-graphy, 2011 Bamboo, paper, persimmon tannin 9.06 x 7.09 x 7.09 in/23 x 18 x 18 cm MTk 4
Mayumi Tsukuda Spiral Spine, 2012 Korean paper, paper thread, beads, wax linen, rattan 6 x 6 x 42.5 in/15 x 15 x 108 cm MTk 5
Mayumi Tsukuda Nested Basket, 2012 Yew 4 x 10.25 x 10.25 in/11 x 26 x 26 cm MTk 6
Nobuko Ueda Swinging Steel I, 2009 Stainless steel 8 x 10 x 10 in/20 x 25 x 25 cm NUe 2
Nobuko Ueda Swinging Steel II, 2010 Stainless steel 11 x 11 x 11 in/28 x 28 x 28 cm NUe 3
Emiko Yoshiya Lotus #12 - Sazanami Series, 2012 Basho (Japanese Banana fiber), Trachycarpus, 10 x 8 x 8 in/25.4 x 20.3 x 20.3 cm EYo 1
Emiko Yoshiya Lotus #11 - Sazanami Series, 2011-2012 Basho (Japanese Banana fiber) 2.5 x 12 x 12 in/6.4 x 30.5 x 30.5 cm EYo 2
Emiko Yoshiya Clear #10 - Sazanami Series, 2010 Polypropylene packing tape 12 x 8 x 8 in/30.5 x 20.3 x 20.3 cm EYo 3
Emiko Yoshiya Gear #9 - Sazanami Series, 2010 Akebi (Chocolate vine), Otsuzurafuji (Sinomenium acutum), Hemp yarn dyed with persimmon juice 5.5 x 17.5 x 14 in/14 x 44.5 x 35.6 cm EYo 4
Michiko Fukai first began to pursue basketry on a professional level in 1987. Since then, she has participated in Japan’s National Basketry Exhibition, “In Our Hands” International Competition in Nagoya, Haya Design Competition in Kagosima, and the Korea-Japan Basketry Exchange Exhibition in Korea. Additionally, she has shown her creations in Gallery Space 21, ARTBOX, Senbikiya, Gallery M2, and Okariya in Tokyo. Of her work, Fukai states: “It is fascinating for me to think of some imaginable move or form and to try to express it into some concrete shapes after repeated trial and error. In a world of uniquely fluctuating materials, there are many unexpected routes and possibilities that can take shape. Unlike producing forms which are predetermined, the elusive nature of the material may result in fascinating products beyond my intended anticipation.”
Yasuko Hoshino got her start in Japan’s 6th Annual Basketry Exhibition in 1991, and has continued to exhibit her baskets there and elsewhere ever since. Other participation includes the “In Our Hands” International Competition in Nagoya, the Annual Basketry Invitational in Michigan, and exhibits at the Reed Gallery in St. Louis, Crafts Museum and Gallery in Portland, and the Contemporary Tapestry Museum France. Of her work, Hoshino states: “Presuming the point of baskets is the circulation of air… I wrestle with basketry. I draw water in baskets, day in and out.”
Sachiko Itabashi began creating baskets in 1980, and has continued to find success ever since. In 2000, she first began to show her creations at Japan’s Annual Basketry Exhibition, and has also gone on to compete in the Japan/ Korea Cultural Interchange Exhibition in Seoul. Among other things Sachiko’s work is especially set apart by the interesting materials she uses to weave her forms. At present, her preferred tools for weaving are crystal vinyl tubes with colored yarn sewn inside. The vinyl is woven together, and from there the brightly-hued string snakes through and seems to float in a chain throughout the interior.
Ritsuko Jinnouchi’s work explores her desire to create mass with uneven surface texture. Using miniscule, repetitive patterning, Jinnouchi’s baskets begin to unfold with almost scientific precision, almost resembling at times a cellular structure. To achieve these effects, Jinnouchi uses plaiting, tying and braiding to construct hexagonal configurations from paper, cord, bark, bamboo or cane. “My baskets are made by lots of small structures. The structures are all the same. If I change one of them the whole form will change. I am surprised and pleased by this effect.”
Mieko Kawase first began creating baskets on a professional level in 1993, at the “In Our Hands” National Basketry Competition. Since then, she has appeared regularly in various shows and basketry competitions, including multiple years in Japan’s Annual Basketry Exhibition, the Korea-Japan Basketry Exchange Exhibition, and a solo exhibition in Aichi Tougou, Japan. Most recently, Kawase has taken to experimenting with Japanese paper as a basket-making material. In her work, Kawase chooses to focus on creating with simplicity, letting flowing, twisting curves spread out organically from her forms.
Yukari Kikuchi first honed her art towards basketry in 2002, when she trained under Noriko Takamiya in Tokyo for two years. Once she was able to grasp the traditional concepts of the art under such tutelage, then she began the path towards making that art her own. Over time, Yukari Kikuchi has developed a very distinct style in her woven sculpture, playing with layering and division of fibers, exploring the concept of unity amongst many miniscule pieces and threads. She focuses on using natural material, which finds in her environment. She tries to find a form that best utilizes each material. Since her introduction into this art form in 2004 she has participated in various exhibitions through out Japan, and now New York City.
Shigeru Matsuyama has been embroiled in the world of basketry for over thirty years. In his process of weaving his creations, Matsuyama prefers to use remnants and found materials—often, he will sift through garbage cans to find the materials he needs. Leftover clothes, scraps of leather, metal shreds and plastic parts all find their way into his creations, winding together to create fully fleshed-out, three-dimensional forms. Matsuyama’s works have been shown at various exhibitions, including galleries in Tokyo, Osaka, Seoul, Wales, The Netherlands, and New York City.
Akiko Mio graduated from Kanazawa University, and very shortly afterwards became found herself drawn to the world of basketry. Like many of her contemporaries, Akiko Mio began to quickly push the bounds of what could traditionally be called “basketry” and was soon using shapes and materials unheard of in more formal styles. The result is a myriad of delicate, almost jewel-like creations, delicately woven together with wire, plastic, and other synthetic fiber. Her creations have been shown in both solo and group exhibitions internationally—among her more noteworthy accomplishments, Akiko Mio has for nearly twenty years in the Fiber Work Exhibition, and has also been honored multiple times at the 2005, 2007, and 2009 Japanese Basketry Exhibition.
Hiroko Okuno was born in Osaka in 1957 and joined the workshop of Hisako Sekijima in 1981. Taking time to come into her own as an artist and understand her creative identity, she waited until 1987 to begin exhibiting her works in Japan’s National Basketry exhibitions. Since then she has regularly participated in Japanese national exhibitions as well as the Korea-Japan Basketry Exchange. Of her work, Okuno states: “With the vital energies of natural material, the figures of basketwork can reveal countless facets. I believe that direct weaving or plaiting of the raw material is the simplest and most familiar way for us to turn our own nature into figurative art. I hope that I can with clear expression convey my emotional and mental state in such a way with my art.”
Chizu Sekiguchi has been honing her art of basketry since 1986, when she attended Hisako Sekijima basketry class for its year-long duration. She uses palm leaves as her primary materials, both Windmill palm and Kudzu. Every leave is treated as its own entity and its own characteristic form, which eventually informs the shape that the basket will take. As her creations progress, multiple leaves wind together as one, assembling themselves into beautifully complex, tangled shapes. As her art has progressed, Chizu has accumulated many honors and awards along the way; she has had exhibitions at the Senbikiya Gallery in Tokyo, and solo shows in Atami, Shizuoka Prefecture. She was an attendee at John McQueen’s workshop in 1997, was a finalist in the “In Our Hands” International Competition in Nagaoka, and was awarded the prize of Special Selected Work at the Second Annual Cheonngju International Craft Competition in Korea.
Shizuko Takahashi first took an interest in the basket world in 1985 when she began studying woven sculpture under the tutelage of Hisako Sekijima, where she honed her artistic voice. Shizuko Takahashi’s baskets play with tension: tension of the materials used, tension of the weave, and what the overall effect this dynamic has on the end shape of the object. In 1987, she felt enough of a creative identity to begin competing and exhibiting in shows. Since then, she has enjoyed much success, showing her pieces at an international level. Most recently, she exhibited her work at the Japan/Korea Basket Show in Kanazawa. Currently she resides in Kanagawa, perfecting her artwork and experimenting with new designs.
Artist’s Statement Twenty eight years ago, I moved to the woods outside of Gifu Prefecture, Japan and founded a craft community, “Oak Village” with my friends. It was created with the goal of establishing a self-sufficient community focused on making local crafts as well as communing with nature. Along with my husband, I started a woodworking school that was the first school in Japan to emphasize forestry and environmental education in its curriculum. My basketry changed dramatically after a walk through the woods. My work greatly utilizes and reflects nature. I teach the craft of basket weaving at Shinrin Takumi Juku and Shinrin Bunka Academy.
Nobuko Ueda’s pieces show a unique mixture of faultless structure with a playfulness of tone that makes her woven sculptures especially distinct from the rest of the art world. The weave and the balance of her creations is especially subtle and strategic—at first the pieces seem especially loose and malleable, but the intricacy of the weave and the detail put into the weight and tension of the work begins to come for the longer one experiences her art. This hidden skill of Ueda’s has been perfected over a long career in the world of basketry—most recently, she has been honored to be shown at Miniartextil Como in 2008 (Italy), the 48th Annual Japan Crafts exhibition I 2009, the Japan Jewelry Art Exhibition in 2010, the 74th Exhibition of Sinseisaku, the 2011 Japan/Korea Art Exchange Exhibition, the 2011 and 2012 “Scythia” show of Textile Art in the Ukraine, and New York’s SOFA Exhibition in 2012.
Emiko Yoshiya has had a long and established career in the basketry world. She began exhibiting in shows in 1985, starting out with more classical art forms, specifically the traditional Japanese art of weaving and dyeing textiles. In 1987, however, she took a workshop in basketry, and began studying under the tutelage of Hisako Sekijima, and has since been fascinated by the experimentation of contemporary woven forms. She now participates annually in the Japanese Basketry Exhibition, and has branched out to exhibit her works in shows in Milan and in the Japan/Korea Joint Arts Exhibition. Currently, she works as the Arts and Crafts Instructor at Taihei Gakain in Osaka.
Copyright ÂŠ 2012 Cavin-Morris Gallery Cavin-Morris Gallery 210 Eleventh Ave, Ste. 201 New York, NY 10001 t. 212 226 3768 www.cavinmorris.com Catalogue design: Mimi Kano & Marissa Levien