There is something so nice about a red bowl, and a red bowl made by a friend. Holly Himes made this lovely vessel. She has the pottery studio near my Kitsune Community Art Studio.
I enjoyed eating my homemade lunch in my new bowl – quinoa with spinach, caramelized onions, yellow squash, and a few pomegranate seeds for accent. It held the meal like a special sacred feast!
Don’t know why I didn’t know this right away! For a year I have been practicing and my asthma is pretty much gone now.
Via Scoop.it – Transformative Art
The USA Fellows program was initiated by United States Artists in 2005 and annually awards grants of $50,000 to outstanding performing, visual, media, and literary artists across the country.
Via www.usafellows.org
Via Scoop.it – Transformative Art
My cousin gave me a couple of these beautiful tea cups when I visited with her and her mother in Seattle. Soma yaki pottery has quite a impressive history. Unfortunately the recent tsunami was not kind to them.
Via www.artisticnippon.com
Philip Glass and Lou Reed occupied Lincoln Center last week, after a performance of Glass’ opera, “Satyagraha,” at the Metropolitan Opera in New York City.
This is the first toy I’ve seen this year that I’m considering buying for my niece!
“Little Librarian will provide book lovers with everything they need to transform their book collection into a library. Kids can practice the important skills of organizing, sharing, borrowing, and returning. Book pockets, check out cards, library cards and bookmarks are just like the ones from a real library. Little Librarians will issue overdue notices and awards. Favorite book memories can be stored in your reading journal and shared with friends. To get started, just add books! “
Check it out here.
I seem to be on a bomb theme lately, but at least this time it is on a lighter note! I found out about eyebombing from fellow tweeter @brainpicker.
Coin Slut
Their motto is “Humanizing the world, one googly eye at a time.” Check out precious examples of this form of guerilla street art, http://eyebombing.com/
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Seeing the Hiroshima Exhibition at the Anthropology Museum at University of British Columbia was so timely. It was happenstance that I should be in the Northwest only a few days before the 70th anniversary of Pearl Harbor bombing.
Being Japanese American always leaves me feeling so out-of-place and awkward when confronted with these two devastating bombings, one in my homeland, the other in the country of my grandparents.
I remember going to the Pearl Harbor memorial and feeling shame and sadness. I felt like the enemy at the memorial. I could not help but wonder how my mother who grew up in Honolulu dealt with it. She was there the day of the bombing. She had just left the movie house with a friend and thought it was just another air raid and then she heard the explosions and saw the smoke.
In Japan at the Hiroshima Peace Memorial and I again felt alone and shameful. As I viewed photos of burnt people and leveled buildings, waves of shock and repulsion went through my body. It was hard to be in the presence of these images.
It was refreshing, but equally as painful to see the 48 photos of Ishiuchi Miyako. Instead of black and white photographs of piles of rubble and dead or injured people, she focused on colorful and frayed, but not too damaged clothing and artifacts left behind after the vaporization of their owners. It was as if I could visualize the young vibrant woman who may have been on her lunch break or the tot who left behind her dolly. Miyako chose particular articles that spoke to her and an assistant carefully laid them out on top of a light box so she could photograph them. The lace on the collar of a dress was arranged to lay flat and the arms of a shirt were made to curve to express movement. Some of the pieces were placed in the sunshine as if to re-energize them, bringing them back to life. It was the missing wearers that visitors were left to fill in or perhaps they transported themselves into the photographs framed on the wall.
I appreciated the way the exhibition was hung. Children’s clothing and toys were placed low on the wall, at kids’ height. Some photos were hung higher and some closer together. They seemed to be speaking to each other. The dimly lit room begged viewers to talk in hushed voices and to move with respect through the space. I liked how the photographs were reflected in the sheen of the floor. It reminded me of a timeless, still pond.
This was not the first time I had encountered Ishiuchi Miyako. I had seen her work in 2005 at the Venice Biennale. There I saw her equally beautiful and poignant exhibition of remnants of her mother’s clothing and articles – a lacy negligee, a used lipstick, a handkerchief. I fell in love with her work and it was a joy to see her again in Vancouver.
I believe I has here to see her photographs to give me the time and space to reflect on horrible acts of war – whether they happen in my country of birth, my country of ancestry, or anywhere in the world.
There is something about temporary art installations that touch my heart. Maybe because they are constantly changing. Maybe because they are only here for moments. I love these beautiful vanishing carpets that must have taken hours to create. You can see how they did it here and see some more images.
They brought to mind the chalk labyrinth I drew out back at SOMArts Cultural Center this year for the AAWAA (Asian American Women’s Artist Association) Place of her Own exhibition. I didn’t necessarily want it to be temporary. It had to be that way due to circumstances of the gallery. I kept coming back to touch up the drawing. One day, a woman who walked the labyrinth said she loved the ephemeral nature of it, that it was constantly fading.
Her comment changed my whole relationship to my piece. After a rainy night I decided to live with the fact that my piece was not going to be there in the morning. It was a beautiful meditative journey for myself and those who walked it….only for the moment.
At the reception, I had a few people want to have access to my artist statement,
so I decided to post it here.
photo by Susan Friedman
I dedicate this exhibition, “In Liminal Space”
at Enso Art Gallery to my mother Doris Shintani,
and to all beings in the midst of transformation
Liminality: “…in-between situations and conditions that are characterized by
the dislocation of established structures, the reversal of hierarchies, and uncertainty
regarding the continuity of tradition and future outcomes.” ~ Arnold van Gennep
I alter cultural and everyday objects to construct stories to reflect our current times and to offer space to ponder and question. These installations are an expression of the ongoing process of destruction and creation.
In Japan, when a woman puts on a kimono it becomes part of her body. Though the kimono appears to be a flowing and simple gown, the layers that bind the woman’s breasts and the rest of her body makes for a very constricting uniform. Breathing is difficult and only small steps may be taken. The restrictive nature of wearing of it is thought to instill tranquility and peacefulness.
As I cut away the red flowers and leaves from the ivory kimono, I felt somewhat uncomfortable. I am destroying a symbol of my Japanese culture. I wonder, who was the woman who wore it? What was her life like?
I cut out the black flower pattern from this used kimono that was gifted to me.
photo by Susan Friedman
The cutting becomes a meditation. I feel a connection to the larger community of women who create and mend clothing. However, I was doing it in reverse…I was taking it apart.
My alterations reflect the loosening connection to my ancestry and culture, and the kimono is reduced to a skeleton, a web. The garment still maintains its elegant and simple structure even after deconstruction. I contemplate making more breathing space in my life to support a simple, healthy, and creative life path.
The kimono installation became a premonition of the Japanese devastation that was yet to come. The deconstructed garments represent not only the personal space but also the liminal space where the transformation of tradition, culture, and structure takes place.
This is the first kimono I cut up. I meditated on the loss of connection with my ancestors and culture
photo by Susan Friedman
The altered umbrellas question our concept of safety and shelter in a world of seemingly unending disasters. I long for an uncomplicated time when holding something over our heads protected us from what fell out of the sky.
The “Pearls Left Behind” installation created out of pizza rounds, conveys the connection of two war times – America’s war with Japan in the 1940’s and the current Iraqi wartime. Both of these events resulted in racial profiling, prejudice, deception, and death. Does history repeat or does it simply rhyme?
The “Vision Quest” ladder reflects my optimism that this threshold offers opportunity for evolution of human consciousness.
I hope my exhibit at Enso Gallery stimulates contemplation and discussion. I welcome your feedback.
photo by Susan Friedman
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 | sarkisartist on Cutting away |
