Material Matters: Kibiso, Japanese Silk

This is another installment in our series of information on materials used by artists who work with browngrotta arts including horsehair, agave and today, kibiso silk.

Kibiso refers to silk drawn from the outer layer of the silk cocoon, considered “waste” in compared to the smooth filament that makes up the inner cocoon. This thick cocoon layer is also called choshi in Japan, frison in the USA, knubbs in Great Britain, sarnak in India, frissonette in France, and strusa in Italy. In the past, it had been discarded as too tough to loom.

Since 2008, NUNO, the innovative Japanese textile firm, has focused on the use of kibiso. Working with elderly women in Tsuruoka, one of Japan’s last silk-weaving towns, NUNO started a kibiso hand-weaving project. These women set up looms in their garages and kitchens for extra family income, and made woven bags out of the thick, stiff kibiso yarn, as well as handknit hats. NUNO has refined kibiso down to a thickness that allows automatic machine looming, resulting in a whole line of new fabrics, most of which have normal silk warps and kibiso wefts. As part of an effort to revitalize Japan’s once-booming silk trade, NUNO’s head designer, Reiko Sudo, also works with the Tsuruoka Fabric Industry Cooperative on a variety of products under the “kibiso” label.

The fiber is water repellent and UV resistant. Machine-made kibiso yarn was originally produced in Yokohama, writes the Cooper-Hewitt, the center of silk exportation in Japan between the 1860s until the 1920s. This silk waste was considered a high-quality material, and produced good quantities with little waste. However, the industrial process to obtain this fiber was not considered cost-effective and it progressively lost its appeal until Reiko Sudi and NUNO addressed revival of kibiso yarn production. Kibiso comes from about 2% of the silk cocoon, Slow Fiber Studio says. It contains an especially high amount of sericin protein, which means it takes dye very strongly and offers great opportunities to explore body and texture. It’s used in its original, more rigid state, to create sculptural forms, or degummed with soda ash to soften the fibers.

Kiyomi Iwata is an artist who has explored the artistic opportunities that kibsio presents. Iwata was born in Kobe, Japan. She immigrated to the US in 1961. She studied at the Virginia Museum of Fine Arts in Richmond and the Penland School of Craft. In the 1970s, she and her family relocated to New York City, where she studied at the New School for Social Research and the Haystack Mountain School of Crafts. She returned to Richmond in 2010 and began working on a body of work using kibiso. She explained to Amanda Dalla Villa Adams in an interview for Sculpture Magazine (“Qualities of the Unsaid: A Coversation with Kiyomi Iwata,” Sculpture Magazine, Amanda Dalla Villa Adams, February 11, 2021) what apealed to her about the material. 

“Kibiso has a very different attraction for me, contrary to my usual silk organza, which is woven from fine silk thread,” Iwata told Adams. The silkworms produce 3,000 meters of thread during their lifetime, and kibiso is the very first 10 meters. “By using kibiso,” the artist says, “I am using the silkworm’s whole life output, which is gratifying. I went back to the traditional manner of using thread to weave. Whatever the thread had from its previous life, such as the silkworm’s cocoon, I left it where it was and dyed the thread.” 

Iwata has made objects of kibiso and also grid-like tapestries which Adams described as apearing as fragments,… “there is an unfinished quality to them,” she writes. “Some are large and freeform, while others are intimate and marked off by a frame.” According to Iwata, the “complex nuance of North versus South” has influenced her work since she re-crossed the Mason-Dixon line. It’s been in the last decade, I that she has transformed woven kibiso made into tapestry-like hangings. “They are either dyed or embellished with gold leaf,” she explains, “and I enjoy the process as much as the results. The whole idea of working, using hands and mind, and letting the process lead me is an eternal moment of joy for me. Sometimes I use a frame to give the piece a limitation, and other times I let the wall space frame the piece. It really is a difference in how I like to present the piece.” In Iwata’s hands, kibiso leads to striking results.

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Japanese artist Hideho Tanaka, now in his 80s, explores contradictory elements in his work, using time, which he sees as an agent of change, as one guide to his aesthetic choices.

Tanaka studied industrial art and design at the Musashino Art University, in Tokyo. Beginning in 1972, Tanaka taught art, while participating in solo and group exhibitions As a teacher, Tanaka explained, he worked to nurture younger generations, as artists, to think not only of soft cloth, but also less-used materials such as wood, paper pulp and stainless steel thread.

In the 1980s, Tanaka expanded the scale of his activities and began large-scale outdoor performances and installations in which he covered dunes with cloth which he burned. In subsequent years, under the theme of Vanishing & Emerging (disappearance and transformation), he continued these explorations — burning metal fibers and other aspects of his works. “He uses fire to suggest destructive force or benign transformation .… He often creates simple solids, opposing the specificity of the materials to the generality of the forms and burning holes in the cloth or singeing the edges of the solids to invade their geometric austerity.” Janet Koplos, Contemporary Japanese Sculpture (Abbeville Press, New York, NY, 1991).

Tanaka also expanded his art practice in the 80’s to include the creation of art textiles using paper — Tanaka also expanded his art practice in the 80’s to textiles using paper — creating dynamic works by virtue of the material used in the works and their sense of scale. The artist explained his interest in fiber in the catalog for Fiber Futures: Japan’s Textile Pioneers (Japan Society, New York, distributed Yale University Press 2011) an exhibition that travelled internationally in Europe, the US and Europe. “Why did I start thinking about fiber art as a medium? It was partly because I was attracted to the idea of expressing myself in a subtle yet intractable material, but I was also intrigued by the challenge of turning something accidental into a deliberate work of art,” he said. “I’m acutely aware of accidents that actually help me achieve the expression I was striving for and other accidents that take my work in a completely different direction.”

The sculptural sense of Tanaka’s art is exciting — the works are light and yet have enormous presence. In his smaller objects, several layers of thin wire have been loosely bound, sometimes with piles of light-colored fibers, sometimes coated with paper pulp. He creates a contrast between the stiff wire and the short pieces of malleable fiber, the uniform wire and pulp in freeform. The large elliptical wall hanging, Vanishing and Emerging, wall (2009), takes a different approach. “Intricately crafted from ink-lined squares of paper, it is a kind of ode to the natural weight, thickness and movement of the cotton, flax and paper fibers from which the panels are made, emphasizing the material’s natural flow so that the piece seems to have a life of its own. The result is a subtle trick of the eye: The textile is at once rippled and featherlight yet geometrically robust with parallel and perpendicular lines that appear to be woven together like a dense and tidy network of veins in a leaf,” wrote Alexandra Zagalsky, “Hideho Tanaka Carefully Stitched Together Pieces to Make this Sculptural Textile,” Introspective Magazine, September 22, 2021.

Tanaka’s work “deals with both philosophical and metaphysical ideas, and he often endeavors to connect the realm of the physical world with unseen spiritual planes. He attempts to bridge this gap through forms that suggest the frailty and transience of the human experience,” writes the Minneapolis of Art which has acquired his work. “The medium of fiber is versatile and allows Tanaka creative freedom.” His work seamlessly spans the categories of fiber art and sculpture. 

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For browngrotta arts, documentation of the field of contemporary art textiles is critically important. Like a tree falling in the forest, if we don’t document an exhibition we’ve curated it’s a bit like if it didn’t happen. Generally, our exhibitions include catalogs that feature individual images of each artwork included, and often, an artist’s statement for each work. In addition, we typically feature essays by curators and scholars who take a broader look at the work or the exhibition theme.

For our latest catalog, Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ (our 52nd), however, we took a slightly different approach. Japandi is a term that refers to the aesthetic kinship one sees between art and design of Japan and the Scandinavian countries. To illustrate affinities, we created spreads — room- or wall-sized groupings of works from each region, rather than highlighting individual artworks. We included the artists’ recollections about how they discovered another culture or how other cultures have influenced their work. We added statements from designers, architects and authors about the similarities they have observed. 

Instead of commissioning an essay, we shared with you what we discovered about Japandi as we researched this exhibition. The introductory text, Mapping Affinities, explains that the roots of Japanese/Nordic synergy extend to the 19th century. It also explains that the trendy term, Japandi, refers to four elements, which the introduction describes: appreciation for exquisite craftsmanship and natural and sustainable materials, minimalism and respect for the imperfect (wabi-sabi) and the comfortable (hygge). The introduction also describes how the artists included experience the Japandi elements differently — some through study, some through travel. Still others describe recognizing these parallels in ways as something they were always aware of and acted upon.

Not all the work that is in the catalog appeared in the exhibition — we included these works to further illustrate our sense of the regions’ common approaches.

We hope you’ll get a copy of Japandí: shared aesthetics and influences https://store.browngrotta.com/catalogs/ and see for yourself. 

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At first glance, Tamiko Kawata’s work is elegant and engaging. On closer inspection, viewers grow more intrigued as they recognize the materials are unexpected — safety pins, rubber bands, used pantyhose and newspaper. She has created arresting jewelry, sculpture, “painting” on canvas and installations. “I like to use overlooked, indigenous objects from our daily life for my medium,” she explains. “Discarded materials are important to me not only for environmental issues but also to reflect my current life.” Kawata studied art in Japan, receiving her BFA in Sculpture at Tsukuba University.  She explains that she was influenced by Bauhaus and Dada, and then the emergence of the Gutai Group, a Japanese avant-garde movement that began in 1954. All three art philosophies were particularly interested in unconventional materials. “These philosophies became a foundation for my way of thinking and for my art-making direction,” she says. In 1962, when she was 26, she came to New York, where she continues to live. 

While Kawata has made large works of newpapers and pantyhose, she is perhaps best known for her works made of safety pins. On arriving in the US, Kawata needed them to make her American-sized clothes fit. She found the pins

in abundance in a dime store and has explored their potential as an art material ever since. The extent of that potential is surprising. Kawata has used pins of different size and colors to create dramatic installation works, like Rain Forest in which chains of pins that end in circles on the floor recall a rippling pond in Kyoto and the victims of the bombing of Nagasaki and Hiroshima. “I wanted to connect this beauty of nature and the atomic bomb victims,”
 she has explained. She uses the pins to create standalone sculptures of all shapes that can be displayed indoors or out.  She uses them to “draw” on canvas, too.

Works like Stillness Within, surprise viewers who think they are looking at a painting or drawing but as they draw nearer that the artist’s “marks” are actually intentionally placed safety pins.

In Permutation 7, pins of different colors create a meditative mosaic. 

Kawata’s work is in numerous collections, including: Museum of Arts and Design, New York, New York; Honolulu Contemporary Art Museum, Hawaii; Ishiguro Art Collection, Tokyo, Japan; Lafcadio Hearn/Yakumo Koizumi Art Museum, Matsue, Japan; Racine Art Museum, Wisconsin; Montreal Museum of Fine Arts, Canada; Williamsburg Art and Historical Center, Brooklyn, New York; Yusuke Aida Collection, Tokyo, Japan; Davis Brody & Bond Architects, New York, New York; Ishiguro Art Collection, Tokyo, Japan; LongHouse Reserve, East Hampton, New York; PREC Institute, Tokyo, Japan; Buenno Premesela Art Collection, Amsterdam, the Netherlands. She is the recipient of numerous grants and fellowships including the Ucross Art Residency; American Academy for Arts and Letters, 2015 Purchase Award; Meet Factory Art Foundation Award,Solo Show and Residency, Prague, Czechoslovokia; Pollock/Krasner Foundation Grant; McDowell Art Colony Residency and the Yaddo Art Colony, Louise Bourgeois Residency Award for Sculpture.

“My works are personal.” she says. “They are my visual diaries.”

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Minimalism is an aesthetic element appreciated by artists in Japan and the Nordic countries and listed as part of Japandi. Here, a minimalist work, Together, by Mia Olsson of Sweden sits aside an abstract bamboo sculpture, Ecdysis, 2019, by Jiro Yonezawa. Yonezawa uses bamboo strips to create a multitude of simple, nontraditional forms.  

Meticulous craftsmanship is another Japandi element. Stainless steel fibers are masterfully incorporated into the work of three of the artists in this exhibition. Agneta Hobin of Finland weaves the fine threads into mesh, incorporating mica and folding the material into shapes — fans, strips and bridges. Jin-Sook So’s work is informed by time spent in Korea, Sweden and Japan. She uses transparent stainless steel mesh cloth, folded, stitched, painted and electroplated to create shimmering objects for the wall or tabletop. The past and present are referenced in So’s work in ways that are strikingly modern and original.  She has used steel mesh to create contemporary Korean pojagi and to re-envision common objects — chairs, boxes and bowls. Kyoko Kumai of Japan spins the fibers into ethereal, silver landscapes.

Another aspect of the Japandi approach is an appreciation of natural and sustainable materials. Both Norwegian-American Kari Lønning and Japanese artists Kazue Honma work in akebia— a vine, harvested thousands of miles apart. Here are details of Lønning’s multicolored rendering of akebia and a plaited work of mulberry from Kazue Honma. Both artists highlight the wide variation of colors found in the material with which they work.

Join us at our Fall Art in the Barn exhibition, Japandí: shared aesthetics and influences through October 3rd, see our parallel pairings and envision some of your own. 39 artists present more than 150 works. browngrotta arts, 276 Ridgefield Road, Wilton, CT 06897. 

We’ve expanded our hours during the week.

Wednesday, September 29th through Saturday, October 2nd: 10 to 6

Sunday, October 3rd: 11 to 6

Advanced time reservations are mandatory • Masks required • Covid protocols • No high heels please (barn floors). http://www.browngrotta.com/Pages/japandi.php

A full-color catalog, Japandi: shared aesthetics and influences, is available for order at: https://store.browngrotta.com/japandi-shared-aesthetics-and-influences/

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A striking wall work, Reserve, by Ane Henriksen of Denmark is featured in Japandí. Henriksen originally found the material covered with oil spots, washed up along the sea by the west coast of Denmark – fishermen use it, on the table in the galley, so the plates don’t slide of when they are on the high seas. The piece also incorporates webbed, rubber matting, colored with acrylic paint. The warp is silk glued together with viscose (from Japan). “Nature is threatened,” says Henriksen. “I hope this is expressed in my image, which at first glance can be seen as a peaceful, recognizable view of nature, but when you move closer and see the material, it might make you uneasy, and and spur thoughts of how human activity is a threat against nature. By framing the nature motif museum-like in a solid oak frame, I try to make you aware how we store small natural remains in reserves – in the same way we store exquisite objects from our past history in our museums.”

Also included in the exhibition are baskets by Danish artist Birgit Birkkjaer. They are made of black linen and Japanese tatami paper yarn (black and hand dyed with rust). “The technique I used for the structure is rya,” she reports, “which was known in Scandinavia already in the Viking Age — and from the 1950s until the 1970s as a trend started by Danish/Finnish artist collectives. So, the baskets have roots in both Japan and Scandinavia.”

Among the works on display from Japan are intricately plaited objects created by Norie Hatakeyama. The artist works with factory-made paper-packing tape to realize her geometric concerns. It is an experimental material that enables her to break free from traditional limitations.

“My work stems from an impulse to redefine both material and method,” says Hatakeyama. Her intricately plaited, three-dimensional works possess the energy of growing organisms. “The works ‘defy the viewer to imagine how they were accomplished,’”art critic and author Janet Koplos has observed.

Jiro Yonezawa is also represented in Japandí with several works. Yonezawa is known for innovative bamboo basketry based on traditional techniques. He says that his recent baskets “represent a search for the beauty and precision in nature and a way to balance the chaos evident in these times.” The search for balance and harmony is one of the elements attributed to Japandi style.

Please join us!

The hours of the exhibtion are: 

Opening and Artist Reception: Saturday, September 25th: 11 to 6

Sunday, September 26th: 11 to 6

Monday, September 27th through Saturday October 2nd: 10 to 5

Sunday, October 3rd: 11 to 6

Advanced time reservations are mandatory; Appropriate Covid protocols will be followed. Masks will be required. There is a full-color catalog, Japandi: shared aesthetics and influences, prepared for the exhibition available at for pre-order at:  https://store.browngrotta.com/japandi-shared-aesthetics-and-influences/

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Writer Lucie Ayres notes that, “[i]n traditional Japanese aesthetics, wabi-sabi (侘寂) is a world view centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is imperfect, impermanent, and incomplete (rough and organic textures. worn and weathered objects, colors that mimic nature) …. Hygge is a [related] Danish and Norwegian word for a mood of coziness and comfortable conviviality with feelings of wellness and contentment (soft textures, sentimental items, comfortable environs).”  (“A Knowledge Post: The Difference Between Wabi-Sabi, Hygge and Feng Shui,” Lucie Ayres, 22 Interiors, March 26, 2020).

Several artists in the Japandi exhibition evidence an appreciation for repurposing and appreciating materials as wabi-sabi envisions. Toshio Sekiji’s works are made of newspapers from Japan and India; one of Kazue Honma’s works is of Japanese telephone book pages. Paper is a material that creates an atmosphere as well as art. Eva Vargö, a Swedish artist who has spent many years in Japan, describes how Washington paper, when produced in the traditional way, has a special quality — light filters through paper from lamps and shoji screen doors creates a warm and special feeling, in keeping with the sense encompassed in wabi-sabi and hygge.

Vargö admires the way the Japanese recreate worn textiles into new garments in boro and recreate cracked ceramics with lacquer through kintsugi. That’s the reason she reuses old Japanese and Korean book papers and lets them “find ways into my weavings.” By giving them a second life she honors those who have planted the trees, produced the paper, made the books, filled them with words and also their readers.

“Anything made by real craftsmanship – objects created out of wood, ceramics, wool, leather and so on – is hyggeligt …. ‘The rustic, organic surface of something imperfect, and something that has been or will be affected by age appeals to the touch of hygge,” writes Meik Wiking, author of The Little Book of Hygge: Danish Secrets to Happy Living (The Happiness Institute Series) William Morrow, 2017). Danish artist Åne Henriksen’s work uses the non-skid material from the backside of carpets and series of knots to create contemplative images that are engaging from a distance, and rough and textured up close. Jane Balsgaard, also from Denmark, uses wood and paper to create objects that reference boats and sails and wings, referencing the old as well as the organic by sometimes incorporating artifacts in her works.

“I’ve never been to Scandinavia,” says Keiji Nio, “but I admire the Scandinavian lifestyle. The interior of my living room, furniture and textiles have been used for more than 25 years, but I still feel the simple and natural life that does not feel old.” Nio finds that artists from Japan and Scandinavia each have an affinity for calming colors. “When I saw the production process of the students from Finland at the university where I work, I was convinced that they had a similar shy character and simple color scheme similar to the Japanese.”

Join us at Japandi: shared aesthetics and influences to experience accents of wabi-sabi and hygge in person. The exhibition features 39 artists from Japan, Norway, Sweden, Finland and Denmark. The hours of exhibition are: Opening and Artist Reception: Saturday, September 25th, 11 to 6

Sunday, September 26th: 11 to 6

Monday, September 27th through Saturday October 2nd: 10 to 5

Sunday, October 3rd: 11 to 6 

20 people/hour; Advance reservations are mandatory; Covid protocols will be followed. 

There will be a full-color catalog prepared for the exhibition available at browngrotta.com on September 24th.

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Danish artist Grethe Wittrock’s work includes expanses of twisted paper strands in single colors — minimal and simple yet powerful expressions of what Finnish Designer Alvar Aalto called “the language of materials.” Wittrock observed the similar appreciation for minimalism firsthand when she traveled to Japan and studied with Japanese paper makers and renowned indigo dyer, Shihoko Fukomoto. “I started to uncover what Nordic sensibilities are by living abroad,” Wittrock says. “I lived in Kyoto, and saw an aesthetic in Japanese design similar to the Nordic tradition. You could say that there is an agreement that less is more. As they say in the Nordic countries ‘even less is even more.’”

Japanese artists have made similar observations. Tamiko Kawata, born in Japan, but living in New York for many years, reports working as an artist/designer position with a prominent glass company in Tokyo after four years of sculpture composition, architectural drawing and photography courses at University. “In those years, I often discussed the affinities of Scandinavian craft works with my colleagues. ‘Why do we appreciate skilful craft works? How can we produce them with a similar approach to understanding the skills in handicrafts and understanding the natural materials and the appreciation for simplicity that we share ?’” Kawata’s very first design, a set of crystal glass bowls, were exhibited with Scandinavian works in the SEIBU department store in Tokyo in 1959. They were purchased by Swedish artist/designer Stig Lindbergh who pronounced them the “most original glass designs in Japan.” It was so thrilling to me,” she says. “I was just 23 years old.” 

Gudrun Pagter is another Danish artist whose abstract works in primary colors reflect the modernism for which Scandinavia is known. “From the exotic and foreign land we find an aesthetically common understanding of a minimalist idiom,” Pagter says, “an understanding of the core of a composition — that is, cutting off everything ‘unnecessary.'” Pagter expresses this minimalist idiom in her work. In Thin, Green Horizon, her composition expresses a form of landscape. It might be the horizon between heaven and sea, or between heaven and earth, she says. In any case, the framed field shifts the horizontal line. There is a shade of difference between the two blue colors, the blue is slightly lighter in the framed field. The thin, horizontal line is made with many shades of blue and green thin linen. The main color is blue, but the thin, green horizon is essential to the whole picture. Pagter notes, “My old weaving teacher at the School of Design, said 40 years ago, ‘you have to be brave to express oneself simply, as a minimalist’ … I’m brave enough now, maybe!!”  

A series of simple weavings by Kay Sekimachi, a Japanese-American artist who lives in California, is a testament to restraint. Her spare markings on handwoven fabrics reference the paintings of Paul Klee and Agnes Martin .”Order is fundamental,” to the Japanese approach, observes Hema Interiors in its style blog, “but it’s an order based on balance, fleeing from symmetry and overly controlled spaces. The decorative elements are important to give personal brushstrokes to the spaces, always resorting to simple and organic elements”  (“Wabi Sabi Interiors,” Comparar Estilios de Decoración, Hema Interiors).

Join us at Japandi: shared aesthetics and influences to see more examples of ways these elements are exchanged and expressed. The exhibition features 39 artists from Japan, Norway, Sweden, Finland and Denmark. The hours of exhibtion are: Opening and Artist Reception: Saturday, September 25th: 11 to 6; Sunday, September 26th: 11 to 6; Monday, September 27th through Saturday October 2nd: 10 to 5; Sunday, October 3rd: 11 to 6; Advanced time reservations are mandatory; Appropriate Covid protocols will be followed. There will be a full-color catalog prepared for the exhibition available at browngrotta.com on September 24th.

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International Fiber Arts X 
through September 21, 2021
Sebastopol Center for the Arts 
282 South High Street
Sebastopol, CA 95472 
info@sebarts.org
https://www.sebarts.org

Our own Neha Puri Dhir took 2nd place in the International Fiber Arts X exhibition at the Sebastopol Center for the Arts in California. The winning work, Dolphin of the Ganges, was created in tribute to a sea creature that has become endangered. “I grew up on the banks of the River Ganges, in the picturesque town of Haridwar amongst lush forest and rich riverine life,” writes Dhir. “The Ganges Dolphin that once thrived in these waters has now disappeared – a victim of the pollution from indiscriminate development in this hilly region. This work is a memorial to a majestic creature and a warning against the irreversible damage caused by human activity.” Kyoko Kumai’s work, Moonlight Wind-L was also selected for the exhibition.

Kay Sekimachi: Geometries
through October 24, 2021
Berkeley Art Museum and the Pacific Film Archive
2155 Center Street Berkeley, CA
(510) 642-0808
bampfa@berkeley.edu 
https://bampfa.org/program/virtual/kay-sekimachi-geometries

In nearby Berkeley, Kay Sekimachi: Geometries is on view. Curated by Janelle Porter, Geometries includes more than 50 objects that highlight the Sekimchi’s material and formal innovations across her career. First recognized for her woven monofilament sculptures, made between 1964 and 1974, Sekimachi has since used linear, pliable elements—monofilament, thread, and paper, among other materials—to create experimental objects that fold together art and craft, found and made, and Japanese and American artistic traditions. 

Olga de Amaral: To Weave a Rock
Museum of Fine Arts, Houston
Through September 19, 2021
Audrey Jones Beck Building
5601 Main Street
713.639.7300
https://www.mfah.org/exhibitions/olga-de-amaral-to-weave-a-rock

Heading to Texas, in Houston is the first stop of a touring exhibition featuring the exquisite work of Olga de Amaral who has “pioneered her own visual language within the fiber arts movement. Her radical experimentation with color, form, material, composition, and space transforms weaving from a flat design element into an architectural component that defies the confines of any genre or medium.” It travels next to Cranbrook Art Museum in Bloomfiels Hills, Michigan. There is a catalog that accompanies the exhibition (https://www.amazon.com/Olga-Amaral-Houston-Museum-Fine/dp/3897905965/ref=sr_1_1?dchild=1&keywords=to+weave+a+rock&qid=1628505072&sr=8-1).

Art Japan: 2021 – 1921
Through September 24, 2021
1635 W St. Paul Avenue
Milwaukee, WI 53233
(414) 252-0677 ext. 110
info@thewarehousemke.org
https://www.thewarehousemke.org/current

In the Midwest, The Warehouse MKE in Milwaukee, Wisconsin, is exhibiting the second of its three-part look at art in Asia, Art Japan: 2021- 1921, curated by Annemarie Sawkins. The exhibition features over 120 woodblock prints, etchings, lithographs, calligraphy, drawings, photography, ceramics, basketry, and textiles, all from the extensive permanent collection of The Warehouse and includes work by Naoko Serino, Jiro Yonezawa, Kiyomi Iwata and Hiroyuki Shindo. The first exhibition in the trilogy was India: Photographs (2019). The third, Then and Now: China, opens October 8th, 2021.

Women Take the Floor
September 13 – November 28, 2021
Boston Museum of Fine Arts
Avenue of the Arts
465 Huntington Avenue
Boston, Massachusetts 02115 
617-267-9300
https://www.mfa.org/exhibition/women-take-the-floor

Women Take the Floor challenges the dominant history of 20th-century American art by focusing on the overlooked and underrepresented work and stories of women artists. The exhibition, began in 2019. The current reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity, inclusion, and gender equity in museums, the art world, and beyond. It features women painters, photographers and fiber artists among others.

The Social Fabric: Black Artistry in Fiber Arts, An Exhibition in Homage to Viki Craig
Through October 24, 2021
Morris Museum
6 Normandy Heights Road
Morristown, NJ 07960
(973) 971-3700
info@morrismuseum.org

Deeply rooted in quilt-making tradition, today’s Black fiber arts incorporate conventional textile skills with contemporary art and design practices. The exhibition features 50 works by over 27 artists, including Aminah Robinson, Beverly McCutcheon, Bisa Washington, Carole Robinson, Clara Nartey, Denise Toney, Ellaree Pray and Faith Ringgold.

Abroad:

Echigo-Tsumari Mail Art Exhibition
Through October 31, 2021
Echigo-Tsumari Art Field
Gallery YUYAMA
446 Yuyama matsunoyama
Toka-machi Niigata-ken
025-532-2218 

Kyoko Kumai‘s 19.5″ stainless-steel sphere, Reborn, is included in an exhibition at the Gallery YUYAMA in the Echigo-Tsumari Art Field through October 31st. Day trips are available to the Art Field which includes a number of out sculptures and structures. The site’s motto: “artworks waiting in the vast nature. Let’s go on a satoyama art walk!”

Britt Smelvaer: Around his father’s boat
Bømlo Kulturhus
Through August, 15 2021
Kulturhusvegen 20
5430 Bremnes, Norway
53423500 
post@bomlokulturhus.no
https://translate.google.com/translate?hl=en&sl=no&u=https://www.bomlokulturhus.no/program/sommarutstillinga-britt-smelvaer-omkring-baaten-hans-far/&prev=search&pto=aue

In Norway, graphic works by Britt Smelvaer tell of memories, knowing the connection and having roots fixed in the environment by the seacoast, and not far from what was in childhood. Learn more about the project here: https://translate.google.com/translate?hl=en&sl=da&u=https://svfk.dk/project/omkring-baaten-hans-far&prev=search&pto=aue

A Sky of Mirror
Though September 12, 2021
Hovedøya Kunstal
Hovedøya, 0150 
Oslo, Norge
920 62 866
https://translate.google.com/translate?hl=en&sl=no&u=https://kunstsalen.no/&prev=search&pto=aue

The summer exhibition at Hovedøya features works by various artists including work by Britt Smelvaer created after a trip she made to Damascus, Syria.

The Nook Exhibition
Kunstbygningen in Vrå 
Through September 1st
Højskolevej 3A 
Vrå, Denmark-9760 
+45 9898 0410 
info@kunstbygningenvraa.dk
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In Denmark, an exhibition of mixed media scuptures and acrylic paintings by Jane Balsgaard appear in a group exhibition.

Carole Frève, Glass Sculptor
September 24, 2021 to January 23, 2022
Musée des métiers d’art du Québec (MUMAQ) 
615, avenue Sainte-Croix 
Montréal, QC, H4L 3X6, Canada
+1 514-747-7367

Carole Frève has always included two major components in her work: on the one hand, constant research on the combined techniques of glass and electro-formed copper and, on the other, the story the work tells the observer. This exhibition highlights work she ahs created over the span of a 20-year career.

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Japanese artist, Naoko Serino, our focus this week, works in jute, a remarkably adaptable material that provokes references to other biological structures. Jute’s golden sheen and sinuous strands “yield a most spectacular softness and luminosity,” notes author Moon Lee (http://thecreatorsproject.vice.com/blog/naoko-serino-spins-vegetable-fiber-into-golden-sculptures). In Serino’s work, “the natural fibers are spun densely or pulled thin, making for infinite gradations of densities. Irregular shapes in varying degrees of transparency provoke an effect that is strongly biological. Spheres, tubes, tubes contained within spheres, spheres contained within cubes, and rows of coiled strands evoke thoughts of phospholipid bilayers of cell membranes, veins, sea sponges, and so forth.” 

Serino creates her sculptures by first covering molds with jute fibers, which she removes when they have dried, creating a final work combining individual fiber elements. Some of the works that Serino creates are small individual pieces, while others are installations that are large enough to fill an entire room. Despite the fragile appearance of the jute fibers, the works have an imposing presence. 

“I moved to a seaside town 30 years ago. I felt the light and wind there and my feelings were stirred by my proximity to Nature,” Serino says. “I began to see with new eyes and I discovered a material, jute. I think the discovery was inevitable. In and through my hands, a dignified hemp produces a shape that contains both light and air. I am grateful that I came across this material. It is a joy for me to express things with jute that stir deep emotions in me. I see myself continuing to express my feelings in this form.”

Serino’s work was included in the Fiber Futures: Japan’s Textile Pioneers exhibition which traveled from Japan to New York, Milan, Copenhagen and other venues. She was awarded the Silver Prize in the 10th Kajima Sculpture Competition and the Encouragement Award in the 16th Kajima Sculpture Award in 2020. She was a awarded the first prize in the Collection Arte & Arte alla Torre delle Arti di Bellagio, Como, Italy in 2014, the Silver Prize in the 10th Kajima Sculpture Competition and the Encouragement Award in the 16th Kajima Sculpture Award in 2020.

Serino is one of the artists whose work is included in browngrotta arts’ next Art in the Barn exhibition, Adaptation: Artists Respond to Change (May 8th – May 16th) http://www.browngrotta.com/Pages/calendar.php. Her work for the exhibition, Generating-Mutsuki, came out of her desire to create a work along the lines of the large-scale sculpture she created for Kajima Sculpture competition in a smaller size.

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