Preamble:
For your convenience, I have listed below posts in this series:
Fourth International Textile Competition '94 Kyoto - Part I
Fourth International Textile Competition '94 Kyoto - Part II
Introduction [1]
Throughout history, human beings have discovered various fibers in the environment. Use of them sustained human life as they protected them from harsh environments. As time passed, human beings created a system of weaving fibers. This was a significant breakthrough in sustaining life. The basis of weaving is a combination of warp and welt. The weaving of wool, flax, hemp amd silk, cotton and diverse materials became a universal technological development, which prevails to this day.
Human beings wanted to embue fabric with color and so invented dyeing. Body clothing was transformed and so decorated the person and gradually distinguished sexes and the roles they played within their local community. Today's fashion still reflects some of these directions.
Kyoto was the capital of Japan for a thousand years and flourished as the principle center of extremely high quality textiles. In Kyoto there is a desire to show, understand and acknowledge the actual situation of textiles in the world of the 90s and to create images of civilization that human beings will help shape the world of tomorrow.
Fourth International Textile Competition '94 Kyoto - Part I [1]
(i) Naomi Ota (Australian/Japanese).
Background: Born in 1963. Finished the graduate school of Kyoto City University of Arts in 1988. Graduated from the Royal Institute of Technology University (Melbourne, Australia).
Judge's Comment: Grappling with the theme, 'The Aesthetics of Textiles - A Message for the 21st Century,' this work is frank in its expression of the relationship between Nature and Man. As we approach the next century, and attempt to surpass the history that we have worked so hard to achieve, we are faced with the problem of how we should live, and where we are heading. This problem has in particular caused us to redirect our vision, and this work has delicately given us an answer in an original and creative way.
A work which exudes character and grace, its message is born not from 'technique' nor 'idea,' but of harmony developed from an earnest awareness while living with nature. Above all, the story related by this work gives one the impression of life, and awakens the awareness concerning current problems with the environment. It is a demonstration of exceptional technique and vision, precisely what one would hope to find in a competition such as this.
Artist: Naomi Ota.
Title: One Day I Found.
Materials: Jute, wood, paper.
Technique: Free technique.
Size: 70 (H) x 190 (W) x 50 (D) cm.
Detail Image.
(ii) Excellence Award: Keisuke Miyamoto, Kyoto (Japan).
Background: Born in 1963, he graduated from Kyoto College of Art in 1991. Exhibited at Paper Works of Contemporary Art (Japan, 1992), and the 22nd Annual Works on Paper Exhibition (USA, 1993).
Judge's Comment: In selecting empty cartons as the material for this work, the artist has developed an expression while using the most common materials and techniques. He has not limited himself, however, to only the theme of recycling problems faced by society, but has touched upon a deep harmony with the environments in his depiction of the circulatory system of our world, also called the water planet.
"It is not so fantastic to conceive that the water circulating at the bottom of the ocean billions of years ago may now circulate within my body..."
This notion of the artist is well-described in his use of the recycling of empty milk cartons, and indeed, through recycling he has demonstrated in this work his awareness of the circulation of water as an integral part of the chain of life.
There is a definite feeling of strength and existence in this work, upon which the artist has portrayed a firm personal experience, which supports this work and its message.
Artist: Keisuke Miyamoto.
Title: Mother Seas Has Memories of Ancient Times.
Materials: Milk package, dye.
Technique: Free technique.
Size: 40 (H) x 250 (W) x 250 (D) cm.
Detailed View.
(iii) Masakazu Kobayashi, Kyoto (Japan).
Background: Born in 1944, he graduated from Kyoto City University of Arts. He exhibited at the 6th International Tapestry Biennial (Switzerland, 1973), the Ist International Textile Triennial (Poland, 1975), the New Movements of Textiles (Japan, 1980), Fabric in Space (Japan, 1987), and International Textile Competition (Kyoto '87 & '92).
Judge's Comment: This work is a fine example of the orthodox beauty of textile art, whereby technique has been masterfully applied to create a work of art. It is reserved and elegant, but the contrast and stability it exudes combine to enhance its overall appeal.
Though diametric in feeling when compared with the work which received the ITF Grand Prize, both works have their own, individual and unique styles of expression, creation and technique, that will pave the way to the next generation of textiles and textile art. in this sense, a close examination of the messages contained in both works will reveal the true concept upon which this ITF competition has been based.
Artist: Masakazu Kobayashi.
Title: Sound-Collage 1-93.
Materials: Silk yarn, aluminium.
Technique: Figured brocade, wrapping etc.
Size: 272 (H) x 546 (W) x 60 (D) cm.
Detailed View.
(iv) Marie-Rose Lortet (France).
Background: Born in Strasbourg, she has lived and worked in Normandy since 1967. Her two tendencies are: one is "Territory of wool" and the other is "Structures of rigidified yarn" which she has simultaneously developed since 1984.
Judge's Comment: Within the various European cultures there are numerous traditions of lace, each rich in history of its place of origin. A highly developed art in itself, lace is now considered to be the most intricate and delicate of textiles, and has been used for centuries in Europe to elegantly decorate the beautiful costumes and apparel of traditional dress.
Taking an architectural approach to a textile which one would expect to be soft and delicate, the artist has succeeded in creating space by moving away from the normal, two-dimensional world that lace normally occupies, and changing it into something completely different. The artist has not merely tranformed it by using it in a three-dimensional way, but instead has recreated and redefined the intrinsic significance of the material itself. While maintaining the classical expressions of European lace, she has re-evaluated the position of lace as a medium tradition, while creating at the same time a work powerful enough to give one a feeling of rebellion in its expression of a new challenge for the next generation of lace and textile art.
Artist: Marie-Rose Lortet.
Title: La Mesure Du Vide.
Materials: Cotton and linen thread.
Technique: Tied and organized together with a solidifying agent.
Size: 50 (H) x 63 (W) x 50 (D) cm.
Detailed View.
Reference
[1] Edited by: International Textile Fair Executive Committee.
Published by: International Textile Fair Executive Committee (Nishijin-ori-Kiakan, Horikawa Imadegawa, Kamigyo-ku, Kyoto 602,Japan.
Printed by: New Color Photographic Printing Co. Ltd. © 1994 International Textile Fair Executive Committe.
For your convenience, I have listed below posts in this series:
Fourth International Textile Competition '94 Kyoto - Part I
Fourth International Textile Competition '94 Kyoto - Part II
Introduction [1]
Throughout history, human beings have discovered various fibers in the environment. Use of them sustained human life as they protected them from harsh environments. As time passed, human beings created a system of weaving fibers. This was a significant breakthrough in sustaining life. The basis of weaving is a combination of warp and welt. The weaving of wool, flax, hemp amd silk, cotton and diverse materials became a universal technological development, which prevails to this day.
Human beings wanted to embue fabric with color and so invented dyeing. Body clothing was transformed and so decorated the person and gradually distinguished sexes and the roles they played within their local community. Today's fashion still reflects some of these directions.
Kyoto was the capital of Japan for a thousand years and flourished as the principle center of extremely high quality textiles. In Kyoto there is a desire to show, understand and acknowledge the actual situation of textiles in the world of the 90s and to create images of civilization that human beings will help shape the world of tomorrow.
Fourth International Textile Competition '94 Kyoto - Part I [1]
(i) Naomi Ota (Australian/Japanese).
Judge's Comment: Grappling with the theme, 'The Aesthetics of Textiles - A Message for the 21st Century,' this work is frank in its expression of the relationship between Nature and Man. As we approach the next century, and attempt to surpass the history that we have worked so hard to achieve, we are faced with the problem of how we should live, and where we are heading. This problem has in particular caused us to redirect our vision, and this work has delicately given us an answer in an original and creative way.
A work which exudes character and grace, its message is born not from 'technique' nor 'idea,' but of harmony developed from an earnest awareness while living with nature. Above all, the story related by this work gives one the impression of life, and awakens the awareness concerning current problems with the environment. It is a demonstration of exceptional technique and vision, precisely what one would hope to find in a competition such as this.
Title: One Day I Found.
Materials: Jute, wood, paper.
Technique: Free technique.
Size: 70 (H) x 190 (W) x 50 (D) cm.
(ii) Excellence Award: Keisuke Miyamoto, Kyoto (Japan).
Judge's Comment: In selecting empty cartons as the material for this work, the artist has developed an expression while using the most common materials and techniques. He has not limited himself, however, to only the theme of recycling problems faced by society, but has touched upon a deep harmony with the environments in his depiction of the circulatory system of our world, also called the water planet.
"It is not so fantastic to conceive that the water circulating at the bottom of the ocean billions of years ago may now circulate within my body..."
This notion of the artist is well-described in his use of the recycling of empty milk cartons, and indeed, through recycling he has demonstrated in this work his awareness of the circulation of water as an integral part of the chain of life.
There is a definite feeling of strength and existence in this work, upon which the artist has portrayed a firm personal experience, which supports this work and its message.
Title: Mother Seas Has Memories of Ancient Times.
Materials: Milk package, dye.
Technique: Free technique.
Size: 40 (H) x 250 (W) x 250 (D) cm.
(iii) Masakazu Kobayashi, Kyoto (Japan).
Judge's Comment: This work is a fine example of the orthodox beauty of textile art, whereby technique has been masterfully applied to create a work of art. It is reserved and elegant, but the contrast and stability it exudes combine to enhance its overall appeal.
Though diametric in feeling when compared with the work which received the ITF Grand Prize, both works have their own, individual and unique styles of expression, creation and technique, that will pave the way to the next generation of textiles and textile art. in this sense, a close examination of the messages contained in both works will reveal the true concept upon which this ITF competition has been based.
Title: Sound-Collage 1-93.
Materials: Silk yarn, aluminium.
Technique: Figured brocade, wrapping etc.
Size: 272 (H) x 546 (W) x 60 (D) cm.
(iv) Marie-Rose Lortet (France).
Judge's Comment: Within the various European cultures there are numerous traditions of lace, each rich in history of its place of origin. A highly developed art in itself, lace is now considered to be the most intricate and delicate of textiles, and has been used for centuries in Europe to elegantly decorate the beautiful costumes and apparel of traditional dress.
Taking an architectural approach to a textile which one would expect to be soft and delicate, the artist has succeeded in creating space by moving away from the normal, two-dimensional world that lace normally occupies, and changing it into something completely different. The artist has not merely tranformed it by using it in a three-dimensional way, but instead has recreated and redefined the intrinsic significance of the material itself. While maintaining the classical expressions of European lace, she has re-evaluated the position of lace as a medium tradition, while creating at the same time a work powerful enough to give one a feeling of rebellion in its expression of a new challenge for the next generation of lace and textile art.
Title: La Mesure Du Vide.
Materials: Cotton and linen thread.
Technique: Tied and organized together with a solidifying agent.
Size: 50 (H) x 63 (W) x 50 (D) cm.
Reference
[1] Edited by: International Textile Fair Executive Committee.
Published by: International Textile Fair Executive Committee (Nishijin-ori-Kiakan, Horikawa Imadegawa, Kamigyo-ku, Kyoto 602,Japan.
Printed by: New Color Photographic Printing Co. Ltd. © 1994 International Textile Fair Executive Committe.
No comments:
Post a Comment