Tag: Hiroyuki Shindo

Save the Date: Japandí Revisited in Wayne, PA, December 7, 2024 to January 25, 2025

Willow basket by Mark Kosonen, Indigo banner by Hiroyuki Shindo
54mk Willow Cat Basket, Markku Kosonen sibirica, satix phylicifalia, 7″ x 11.5″ x 11″, 1990
4hsh.1 Wall Hanging, Hiroyuki Shindo, linen, handspun and handwoven, indigo dye, 69″ x 17″ , 1995. Photo by Tom Grotta

It turned out so nice, we decided to do it twice. Three years ago we curated an exhibition at browngrotta arts exploring the inspirations shared by artists in Japan and the Scandinavian countries, Sweden, Finland, Norway, and Denmark. We uncovered so many interesting stories and artistic references among the artists we work with we’ve decided to revisit this topic again this winter at the Wayne Art Center in Wayne, Pennsylvania. Japandí Revisited: shared aesthetics and influences will open on December 7, 2024 and run through January 25, 2025. 

Basket Strings by Birgit Birkkjaer
102bb Woven Art Basket Strings, Birgit Birkkjaer, linen, paper, horsehair, hemp yarn, silk-steel, yarn, glue, 61″ x 35″ x 4″, 2024. Photo by Tom Grotta

The Ethel Sergeant Clark Smith Gallery at the Wayne Art Center is spacious and bright and an inviting space. Vistors to Wayne will see some familiar works alongside new ones, from Birgit Birkkjaer, Hiroyuki Shindo, and Naoko SerinoJapandí Revisited will also feature artists new to our Japandí assemblage, including Shoko FukudaToshiko TakaezuAya KajiwaraKogetsu Kosuge, and Hiroko Sato-Pijanowski.

Åse Ljones and Naoko Serino
Åse Ljones, 16al Dobbel Domino, hand embroidery on linen, stretched on frame, 56.675″ x 57″ x 2.5″, 2015
Naoko Serino, Generating 9, jute, 30″ x 30″ x 7″, 2014. Photos by Tom Grotta

Japandí in design is a fusion style that references shared aspects of Scandinavian and Japanese aesthetics.  “It is the East-meets-West design movement. It blends Japanese artistic elements and wabi-sabi philosophy with Scandinavian comfort and warmth or hygge,” Shanty Wijaya, an interior designer and owner of AllPrace told Architectural Digest in 2023“Both Japanese and Scandinavian design aesthetics are focused on simplicity, natural elements, comfort, and sustainability. It teaches us to find beauty in imperfection, form deep connections to the earth and nature, and enjoy the simple pleasures of life.”   

paper boat sculpture by Jane Balsgaard
38jb Relief, Jane Balsgaard, iron, bamboo, willow, fishing line and handmade plantpaper, 74″ x 18″ x 12″, 2014. Photo by Tom Grotta

There are four elements highlighted in Japandí Revisted — natural materials and sustainability, minimalism, exquisite craftsmanship and, as Wijaya notes, similarities between the Japanese concept of wabi-sabi and the Scandinavian concept of hygge. A respect for materials is found in both cultures. Danish artist Jane Balsgaard spent time in Japan in 1993 and 1998, preparing for exhibits there. Works of paper and twigs were the result. In her work, white paper often contrasts the dark color of the willow twigs.  “Another element in [Balsgaard’s] works that has connection to Japan,” writes Mirjam Golfer-Jørgensen, “is the skeleton, that partly frames the paper, partly combines with the hollows in the constuction, and gives another character to the paper that with a lightness that creates a contrast towards to the hollows.” (Influences from Japan in Danish Art and Design 1870 – 2010, Mirjam Golfer-Jørgensen, Danish Architectural Press, 2013.)

Gudren Pagter and Keiji Nio
5gp Framed, Gudrun Pagter, linen, sisal and flax, 65” x 60”, 2018
14kn Large Interlacing – R, Keiji Nio, nylon fiber, 54″ x 54″ x 15.5″, 2004. Photo by Tom Grotta

These cultures share is an affinity for purity, minimalism, and simplicity. 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.’” 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.’”

Grethe Wittrock and Jiro Yonezawa
Grethe Wittrock , 2gr The Second Cousin, white paperyarn knotted on steelplate, 67” x 78.75”, 2006
Jiro Yonezawa, 100jy Red Fossil 20−4, bamboo, urushi laquer, 22.5” x 21.25” x 21”, 2020. Photo by Tom Grotta

Meticulous craftsmanship is another element heralded in Japandí. 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.

Toshio Sekiji and Eva Vargö
Toshio Sekiji, 34ts Counterpoint 8, Korean newspapers; black urushi lacquer, 28″ x 25″ x 4″, 2009
Eva Vargö, 6ev No. 55 (Book of Changes), linen, thread, paper strings, gold leaves, 31.75” x 29.375” x 1.5,” 2019. Photo by Tom Grotta

Several artists in the Japandí exhibition evidence an appreciation for repurposing materials as wabi-sabi envisions. Toshio Sekiji’s works are made of newspapers from Japan, India and the US and even maps from Jerusalem. 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 washi 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 appreciation of the imperfect embodied in wabi-sabi and wellness and contentment in hygge.

A sneak peek — here’s the Wayne exhibition in 2-D. Photo by Tom Grotta.

We hope you can make it to Pennsylvania this winter!


Lives Well-Lived: Hiroyuki Shindo (1941-2024)

Hiroyuki and Chikako Shindo portrait
Hiroyuki and Chikako Shindo at browngrotta arts Sheila Hicks, joined by seven artists from Japan exhibition in 1995. Photo by Tom Grotta

We first met the talented and charming artist, Hiroyuki Shindo in 1995. Shindo was one of the artists in the east-west textile dialogue that Sheila Hicks crafted at browngrotta arts’ original location. Entitled Sheila Hicks, joined by seven artists from Japan, Shindo was one of the exhibition artists who created, in Hicks’ words, “strictly abstract, nonfolkloric works … Major statements in modest formats. Livable art. More than livable — inspirational and elevating, magnets of meditation.” Shindo and his wife, Chikako, came to Wilton, Connecticut from Japan, as did artist Chiyoko Tanaka, to install the exhibition with Hicks. Shindo served as an invaluable translator and witty raconteur. We learned about the virtues of cold sake, offerings made to the indigo gods, and his adventures in Broken Bow, Nebraska. (He had travelled, he told us, to Nebraska because it was where Sheila Hicks was born.) 

Indigo Thread Balls, Hiroyuki
Indigo Thread Balls, Hiroyuki Shindo, linen, cotton, indigo dye, 1995. Photo by Tom Grotta

We also learned in 1995 about Shindo’s remarkable art process. Shindo worked with indigo, which he first encountered as a student at Kyoto City University of Fine Arts in the late 1960s. An older artisan had told Shindo that he was the last of 14 generations of indigo dyers — Shindo was determined to prevent this art form’s extinction.

Hemp & Cotton, Hiroyuki Shindo
21hs Hemp & Cotton, Hiroyuki Shindo, linen, handspun and handwoven, indigo dye, 82″ x 44″, 1998. Photo by Tom Grotta

Shindo used only natural indigo for his work, which involved an elaborate ritual of his own formulation. He would first ferment the dye, pour it into a cement pool that contained pebbles. Next, he would move pebbles in a trough into the configuration he liked. Finally, he would press linen or flax into the trough of pebbles and dye, revealing the shapes and blurred edges he envisioned — from areas of nearly black to nearly invivible blue shadows. Shindo also made fascinating “thread balls” of wound thread where certain areas were highlighted with dye. As Hicks described the result, ”He is painting. He is sculpting. He is creating entire environments.” The white was as important to these works as the indigo Shindo believed. “If the white is not brilliant enough, or the undyed portion is not the right proportion, the balance is broken, and so I insist, white is as important to my work as is indigo.” Once dyed, the balls were placed in a nearby stream for rinsing, a process that is beautifully filmed in the video Textile Magicians by Cristobal Zanartu.

Wall Hanging, Hiroyuki Shindo
2hs Wall Hanging, Hiroyuki Shindo, linen and handspun and handwoven, indigo, x 12″, 1995. Photo by Tom Grotta

Shindo’s work has been exhibited widely. At the North Dakota Museum of Art, he created a series of panels responding to the flat landsape of the plains. He was among the artists included in Structure and Surface: Contemporary Japanese Textiles at the Museum of Modern Art in New York City and Textile Wizards from Japan at the Israel Museum of Art in Jerusalem. His work is in a large group of museum collections including the Stedelijk Museum, Amsterdam, the Netherlands, the Art Institute of Chicago, Illinois, the Cleveland Museum of Art, Ohio, Museum of Arts and Design, New York, New York, and Museo de Arte Carrillo Gil, Mexico City. In 1997, he became a professor and head of the textile department at the Kyoto College of Art. 

Two Large Indigo wall hangings by Hiroyuki Shindo
Two Large Indigo wall hangings by Hiroyuki Shindo. Photo by Tom Grotta

In 2005, Shindo founded the Little Indigo Museum, in an old thatched-roof house, in the village of Kayabuki-no-Sato, north of Kyoto. This private art museum includes examples of indigo works not only from Japan, but also from Asia, Africa, Europe, and Central America — a representation of indigo dye culture from all over the world. The collection features indigo textiles found by the artist among discarded belongings, collected during field trips, and pieces received “from people along the way.”

Hiroyuki Shindo Large Wall Hanging detail.
Hiroyuki Shindo Large Wall Hanging detail. Photo by Tom Grotta

We are among the people he met along the way. He will indeed be missed.


More Art Out and About — exhibitions in the US and abroad

It’s busy summer for fans of fiber art. We have more must-see exhibitions to bring to your attention, from the long-awaited (at least by us!)  A Dark, A Light, A Bright: The Designs of Dorothy Liebes  in New York to Beauty and The Unexpected in Stockholm, Sweden and some additional images from Denver, Riga and Portneuf.

Mariette Rousseau-Vermette
634mr Hommage á Dorothy Liebes, 1948-49 I, Mariette Rousseau-Vermette, silk leather, aluminum, fluorescent tubing (some materials obtained from Dorothy Liebes) , 54″ x 15″ x 15″, 2001. Photo by Tom Grotta.

New York, NY
A Dark, A Light, A Bright: The Designs of Dorothy Liebes
through February 4, 2024
Cooper Hewitt
2 East 91st Street
New York, NY 10128
https://www.cooperhewitt.org/channel/dorothy-liebes/

From the 1930s through the 1960s, American textile designer, weaver, and color authority Dorothy Liebes (1897–1972) collaborated with some of the most prominent architects and designers of the time, including Frank Lloyd Wright, Henry Dreyfuss, Donald Deskey, Raymond Loewy, and Samuel Marx. Fashion designers, including Pauline Trigère, Adrian, and Bonnie Cashin, also used her fabrics, yielding some of the most distinctively American fashions of the mid-20th century. Artist Glen Kaufman and Mariette Rousseau-Vermette worked in her studios in New York and San Francisco. The “Liebes Look”—which combined vivid color, lush texture, and often a glint of metallic—became inextricably linked with the American modern aesthetic. This exhibition features more than 175 works—including textiles, textile samples, fashion, furniture, documents, and photographs — to highlight the powerful — but largely unacknowledged impact she has had on 20th-century design. 

Tawney, Laky, Knauss, Seelig details
clockwise: Lenore Tawney, Ioannes Fridericus, 1983, Collage, 8″ x 12.5,”, Photo by Inlån Dru
Gyongy Laky, Incident, natural, commercial wood, paint, bullets for building, 50″ x 50″ x 4.5″, 2012. Photo by Tom Grotta
Warren Seelig, Stone Carpet/ Shadowfield, 2005. Photo by Inlån Dru. Lewis Knauss, Tinder Dry Year: 2010, woven, knotted linen, hemp, paper twine, bamboo, 25″ x 25″ x 8.5″, 2010. Photo by Inlån Dru. 

Stockholm, Sweden
Beauty in the Unexpected: Modern and Contemporary Crafts
through January 21, 2024
Södra Blasieholmshamnen 2
Stockholm, Sweden
https://www.nationalmuseum.se/en/exhibitions/beauty-and-the-unexpected

Nationalmuseum has invited Helen W. Drutt English, pioneering craft educator and gallerist of American Modern and Contemporary Crafts since the 1960s, to assemble a collection of objects drawn from the field of “American Crafts”. The selection of 81 works from the 1950s until today will in future enrich Nationalmuseum’s collections and will provide a possibility to look at American Crafts in the Nordic context. Fiber artists have a good representation – Lenore Tawney,Lewis KnaussWarren SeeligGyöngy Laky, Yvonne Bobroowicz, Deborah Rappoport, Nancy Worden, Rise Nagin, and Ted Hallman are all included in the collection.

Washington, DC
Shared Honors and Burdens: Renwick Invitational
through March 31, 2024
Renwick Gallery of the Smithsonian American Art Museum
1661 Pennsylvania Ave., NW
Washington, DC
https://www.si.edu/exhibitions/sharing-honors-and-burdens-renwick-invitational-2023:event-exhib-6575

The Renwick Invitational 2023 features artists Joe Feddersen (Arrow Lakes/Okanagan), Lily Hope (Tlingit), Ursala Hudson (Tlingit), Erica Lord (Athabaskan/Iñupiat), Geo Neptune (Passamaquoddy), and Maggie Thompson (Fond du Lac Ojibwe). Together, these artists present a fresh and nuanced vision of Native American art. The artists were selected for their work that expresses the honors and burdens that Native artists balance as they carry forward their cultural traditions. These artists highlight principles of respect, reciprocity, and responsibility through their work that addresses themes of environmentalism, displacement, and cultural connectedness.

Blair Tate
Work by Baiba Osite, Exodus, Riga, Latvia. Photo by Irina Versalyeva.

Riga, Latvia
Exodus: Baiba Osite
7th Riga International Textile and Fiber Art Triennial
through September 19, 2023
Dubulti Art Station
Riga, Latvia
https://www.lnmm.lv/en/museum-of-decorative-arts-and-design/news/programme-of-the-7th-riga-international-textile-and-fibre-art-triennial-quo-vadis-139

Baiba Osīte‘s wide-scope solo exhibition Exodus is part of the 7th Riga International Textile and Fiber Art Triennial QUO VADIS? The curator, Inga Šteimane, writes about Osite’s “paintings” made of pieces of wood washed out of the sea – “both landscape and abstract in conjunction, as well as archaic and modern ecological. The personal exhibition Exodus was created in a similar synthesis – the historical and the philosophically abstract are together, just like the experienced, felt and imagined.” For the artist, exodus [leaving] is a biblical theme that tells the story of the people of Israel coming out of slavery in Egypt, passing through the sea, escaping their persecutors and gaining their land and freedom. Osite says she has always been interested in this topic from the perspective of an individual’s life, but currently it is particularly relevant to the fate of one nation and humanity globally.” She sees parallels with what’s happening in Ukraine right now. “[T]hey’re fighting for their freedom,” she notes, “for their independence, for their respect among other nations. They’re just fighting it out in a very hard fight. And I think it doesn’t leave anyone indifferent.”

Gizella K Warburton installation
Works by Gizella K Warburton at the Natural (Re)Sources exhibition in Wales. Photo by the artist.

Denbighshire, UK
Natural (Re)Sources
through September 24, 2023
Ruthin Gallery
Gallery 1
Denbighshire, UK
through September 24, 2023
http://ruthincraftcentre.org.uk/whats-on/coming-soon-gallery-1/

Natural (Re)Sources looks at the origin of an artist’s chosen materials. This doesn’t mean that the finished work looks as if it has just been collected from a forest floor, or dug from the ground without intervention, but rather that the material basis for work that is “of the earth” in various forms. The exhibition is curated by Gregory Parsons and includes work by Laura Bacon and  Gizella K Warburton.

Karen Hassinger sculpture
installation by Maren Hassinger. Photos courtesy of LongHouse Reserve.

East Hampton NY
Maren Hassinger: Monuments
through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY 
Artist: Maren Hassinger

A native of Los Angeles, Maren Hassinger (b.1947) is a multimedia artist whose practice bridges fiber arts, installation, performance, and sculpture. Incorporating everyday materials such as wire, rope, newspapers, plastic bags, petals, and dirt, Hassinger’s art explores the subjects of movement, family, love, nature, the environment, consumerism, identity, and race.

East Hampton NY
A Summer Arrangement: Object & Thing
weekends through December 31, 2023
LongHouse Reserve
133 Hands Creek Road
East Hampton NY
Exhibition: A Summer Arrangement

While you are at LongHouse, visit A Summer Arrangement: Object & Thing at LongHouse features works by several artists and designers, including works from the collection of LongHouse founder Jack Lenor Larsen (1927-2020).

Stéphanie Jacques sculpture
Works by Stéphanie Jacques at the Biennial du Lin in Quebec. Photo courtesy of the artist.

Quebec, Canada
International Linen Biennial in Portneuf (BILP)
through October 1, 2023
Heritage sites throughout Deschambault-Grondines 
Quebec, Canada
https://www.artemorbida.com/biennale-internationale-du-lin-de-portneuf-bilp-2023/?lang=en

Anneke Klein (the Netherlands) Blair Tate (United States of America) Stéphanie Jacques (Belgium), Carole Frève (Québec) are all participants in the international Biennial of Linen in Portneuf, Canada now on view. The BILP is a cultural event showcasing works of professional artists exploring new ideas inspired by linen and flax, covering both technical and conceptual aspects. The subject of flax and linen is addressed through themes as varied as contemporary visual arts, crafts and design. The event takes place in different heritage sites of Deschambault-Grondines every odd year, since 2005.

indigo installation
Photos: Denver Botanic Gardens © Scott Dressel-Martin.

Denver, Colorado
Indigo 
Denver Botanic Garden
York Street Location
Denver, Colorado
through November 5, 2023

Open now, the Indigo exhibition at the Denver Botanic Garden features work by Polly BartonEduardo Portillo and Mariá DávilaChiyoko TanakaHiroyuki Shindo, and Yeonsoon Chang, as well as other artists from across the globe. 

Kyoko Kumai sculpture
Memory by Kyoko Kumai in the Toshiba Gallery at the Victoria & Albert Gallery in London. Phots courtesy of the artist.

London, UK
Japanese Contemporary Craft
Victoria & Albert Museum
Japan, Room 45, The Toshiba Gallery
Cromwell Road
London SW7 2RL
through July 2025
https://collections.vam.ac.uk/item/O1731010/memory-sculpture-kumai-kyoko/

The V&A’s spectacular Japan collections feature ceramics, lacquer, arms and armour, woodwork, metalwork, textiles and dress, prints, paintings, sculpture and modern and contemporary studio crafts. Currently on display, Memory by Kyoko Kumai.

Enjoy!


Contemporary Art Influenced by Korea and Japan: An Unexpected Approach

Opens September 16th in Greenwich, Connecticut

Mary Yagi Outdoor Sculptor Art from Japan

Mariyo Yagi preparing her outdoor sculpture “A cycle- Infinity” for the upcoming exhibit in the US. Photo by Yuna Yagi

From September 16th to November 4, 2016, the Bendheim Gallery of the Greenwich Arts Council in Greenwich, Connecticut will present Contemporary Art Influenced by Korea and Japan: An Unexpected Approach, curated by browngrotta arts. The exhibition includes select works of ceramics, textiles, baskets and sculptures by artists from Japan, Korea and the United States that each reflect an Asian sensibility.

Textiles and Ceramic Art from Korea and Japan

Weaving by Chiyoko Tanaka, Ceramic by Yasuhisa Kohyama. Photo by Tom Grotta

Varied materials and techniques

The 23 artists in this exhibit have a close relationship to a traditional craft aesthetic, manifested in a contemporary manner. They have chosen conventionally Asian materials and/or techniques (dyes, papers, gold leaf, persimmon tannin, kategami) used in both time-honored and unconventional ways. Examples include studies by Hiroyuki Shindo of the vanishing art of natural indigo dyeing and by Jun Tomita on ikat dyeing.  Jennifer Linssen’s innovative sculptures of katagami and Keiji Nio’s Interlacing-R, which references complex Japanese sumihimo braiding reimagine conventional techniques. Masakazu and Naomi Kobayashi, Naoko Serino and Kyoko Kumai also create new relationships among disparate material and techniques.

Kiyomi Iwata Gold Mesh Sculpture

Auric Grid Fold, Kiyomi Iwata, aluminum mesh, french embroidery knots, gold leaf, silk organza, 19″ x 18″ x 10″, 2013. Photo by Tom Grotta

In other works, like Kiyomi Iwata’s Auric Gold Fold, Glen Kaufman’s Shimogamo Scrolls: Studio View II and Jin-Sook So, Pojagi Constructions I and II, gold and silver leaf play a role, their luster and longevity suggesting immortality, power, divinity. The artists share a concern for surface and material interaction, evident in Chiyoko Tanaka’s Grinded Fabric-Three Squares Blue Threads and Blue #689, of linen distressed with earth and stones, Hideho Tanaka’s Vanishing and Emerging series of stainless steel and singed paper and Mariyo Yagi’s twisted rope sculpture, A cycle-Infinity. The artists in Contemporary Art Influenced by Korea and Japan: An Unexpected Approach create work that is formal and contained while visibly involving the hand of the artist. This exhibition is a collaboration between the Greenwich Arts Council and browngrotta Arts.

The complete list of artists participating in this exhibition is:

Nancy Moore Bess (United States); Pat Campbell (United States); Kiyomi Iwata (Japan); Glen Kaufman (United States); Masakazu Kobayashi (Japan); Naomi Kobayashi (Japan); Yasuhisa Kohyama (Japan); Kyoko Kumai (Japan); Jennifer Falck Linssen (United States); Keiji Nio (Japan); Toshio Sekiji (Japan); Hisako Sekijima (Japan); Naoko Serino (Japan); Hiroyuki Shindo (Japan); Jin-Sook So (Korea/Sweden); Norkiko Takamiya (Japan); Chiyoko Tanaka (Japan); Hideho Tanaka (Japan); Takaaki Tanaka (Japan); Jun Tomita (Japan); Mariyo Yagi (Japan); Chang Yeonsoon (Korea); Jiro Yonezawa (Japan); Shin Young-ok (Korea).

The Bendheim Gallery is located at 299 Greenwich Avenue, Greenwich, Connecticut; 203.862.6750; info@greenwicharts.org.


In Honor of Asia Week: Seven More Japanese Artists

Traditionally, art of Asia Week New York has been Asian Contemporary Art Week. This spring, Asian Contemporary Art Week extends beyond its usual week-long format to last an entire season, capturing the best of contemporary art from Asia in New York. A complete list of contemporary offerings, which includes Bomb Ponds, Vandy Rattana’s installation of photographs and video that explores the U.S. bombing of Cambodia during the Vietnam War, is found on the ACAW webiste at http://www.acaw.info/?page_id=2062. Here is a selection of wall and three-dimensional work by seven more contemporary Japanese artists.

Large Silk Akiha Devider by Chiaki Maki, photo by Tom Grotta

Large Silk Akiha Devider by Chiaki Maki, photo by Tom Grotta

Chiaki Maki (Japan)

Large Tassar Spun Silk and Wool by Kaori Maki, photo by Tom Grotta

Large Tassar Spun Silk and Wool by Kaori Maki, photo by Tom Grotta

Kaori Maki (Japan)

Large Interlacing-R by Keiji Nio, photo by Tom grotta

Large Interlacing-R by Keiji Nio, photo by Tom grotta

Keiji Nio (Japan)

Shadow Alphabet by Toshio Sekiji, photo by Tom Grotta

Shadow Alphabet by Toshio Sekiji, photo by Tom Grotta

Toshio Sekiji (Japan)

A Hole to See II by Hisako Sekijima, photo by Tom Grotta

A Hole to See II by Hisako Sekijima, photo by Tom Grotta

Hisako Sekijima (Japan)

Generating 12 by Naoko Serino, photo by Tom grotta

Generating 12 by Naoko Serino, photo by Tom grotta

Naoko Serino (Japan)

Shindigo Square Series by Hiroyuki Shindo, photo by Tom Grotta

Shindigo Square Series by Hiroyuki Shindo, photo by Tom Grotta

Hiroyuki Shindo (Japan)