Time, the everyday, and the relationship between fantasy and reality are recurring themes in my practice. I often experiment with different creative processes through site-specific works, where I intend to explore aspects of time based on the areas of Yamanashi. This residency project would look at concepts of transition, limbo, liminal space, and memory while presenting my experience of the local culture and surroundings.
Held annually in November, the Kofu Ebisu-Ko Festival will be the primary focus of my residency project as a study of the local tradition in relation to concepts of liminal space and the sublime. Through video works and drawings, an additional component to my project includes my first impressions of Kofu that documents and transforms both natural and urban areas into psychological landscapes.
I
work with the construction of identity in different social contexts. My
artistic practice questions society through the tools of criticism, education
and transformation. I’m interested in creating identity portraits through
dialogues with the viewer in order to trace the construction of personal
narratives.
I develop my work through the disciplines of drawing, painting and video. Also I develop my work through collective collaboration and educational workshops. Since 2006 I’m a member of Fotoeduterapia: Photography as an educational tool in this sense, generates content, strategies and ways of examining contemporary practices to be applied within art therapy, psychotherapy as well as social intervention. Last year I published my first book: ‘Arrested’, a project about the influence of the economic crisis and unemployment in Spanish society. I have shown my work in selected individual and collective exhibitions within Europe and Japan. I’m represented by Silvana Retamal, the director of “A ciegas Gallery” in Spain, http://www.galeriadearteaciegas.com/
I am interested in exploring themes of fantasy and imagination
for young women, pulling inspiration from intense nostalgia and personal
narrative as well as current challenges and local environment. Constructing
dark, yet whimsical stories of powerful women on adventures gives me an outlet
for the everyday obstacles I face as a woman in a patriarchal world. I hope my
work wakes the imagination in the viewer and they linger in magic for a moment.
I use Risograph as tool to make these narratives, which are
often dismissed as unimportant and naive, and the Riso makes them feel grand
and timeless. The numerous layers of ink creates a luscious texture that looks
similar to old advertisements, comics and woodblock prints. The Risograph
inspires both nostalgia and innovation, which I think is the perfect medium to
express the work I care deeply for.
During the residency I intend to focus on developing a foundation for a longer narrative form, be it comic or picture book, with a series of sketches, paintings, comics and Risograph work. The collection would center around fantastical themes with one common narrative, which would be inspired by my time in Yamanashi.
Choose flowrers3 steps of drawing Fantasy Flower Drawing 1. Draw fowers as you look 2. Draw without looking at flowers 3. Draw an imaginary world of flowersusing color pencilsusing color pens
“During the residence, artist focused on developing longer narrative forms such as comics and picture books, including a series of sketches, paintings, comics and lithographic works. This collection is a fantastic story based on one theme, inspired by the time spent in Yamanashi. “
I went to the AIRY exhibition, then I was thrilled with all the wonderful pictures. A really cute girls with a different expression !! I also like the partner of the girls Black Cat🐈I bought a piece of ‘ fighting woman and beast’ it’s kind of Greek mythology I think.I forgot the important thing! Tomorrow! Until 18:00 open. After all it is more enchanting to see real pieces more than photos.
photo by Azusa
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Paint on Glass @Terasaki roji cafe；
photo by Yucco / iCLA Lecture
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Residency artist Natalie Andrewson_USA in October 2019 Interview and edit by Olly Thwaite
My
practice is focused on figurative painting and drawing where the human being is
the main subject. I have always been interested in painting people as it’s the
most complex and absorbing theme; I am fascinated by our mental and emotional
state, philosophy, thinking, love etc
My
current paintings question intimacy as a form of self-love:
How intimate do we get with ourselves, how affectionate do we become? How much do we understand ourselves, our needs and dreams?How remote do we become when we feel lonely? How much do we love who we are when we go through difficult times? Do we realise that no one can make us happy if we are not happy with ourselves? I am not interested in myself as a subject for painting but I am someone who I’ve gotten to know better than anyone else therefore my paintings are very often self-portraits. Choosing monochrome adds more harmony and intimate feelings to my artworks.
At AIRY I want to continue doing intimate paintings and make a series of small artworks. I hope to make a 20-page artist’s book in collaboration with poets living in Kofu city. My objective is to explore poetic response that my work might evoke amongst artists from a different field; each poem will respond to each painting that I will make.
Collaboration with Tanka group (organized by Shinobu Kurosawa, Kurosawa group) Tanka by Shinobu Kurosawa, Hiroshi Asakawa, Hiroko Enami, and Rieko Hiraga will be exhibited simultaneously. An attempt to sing an imaginary Tanka from portraits drawn by the artist, edited after returning to England to publish collaborative art book of portraits and poetry.
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Tanka Workshop:
「その先に 何が見えるの 少しだけ 光はあるの たずねたくなる」宏子
「ワイエスが ふとよぎるよな そのタッチ 心模様は 画面の奥に」理恵子
「黒シャツに 沈めた悲しみ まとう人 淡い光を 受けて立ってる」洋
「乳首の 向きの違いは どこまでも 交わらずして はなればなれに」黒沢
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Residency artist Judy Pilarczyk_Poland in October 2019 Interview and edit by Olly Thwaite h
Born in Macau, living at the edge of the small hill for 30 years. When I was small, I used to bring a small chair to the terrace to see the greenery scenic of the hill, the hill changes everyday, the songs of birds and the dancing of the squirrels are so attractive, I just sit down there day-dreaming all the time. I love to listen to the nature, I like to understand what I am dreaming. So as now I love to use the local resources for inspirations and form the linkage of me and the city. I try to use visual images to express my inner feelings, thoughts and my status, and share them with the others.
タイトル：トーマスとグラフィティ 日時：９月７（土）１４（土）10:00-12:00 場所：エアリー一階入口 講師：トーマス・ロー/ マカオ 申し込み不要、無料、マスクと軍手持参 内容：エアリー一階入口のボードをトーマスといっしょに描き替えよう！筆塗りとスプレーの作業があります。汚れてもよい服装でおいでください。 ー LO Si In (Thomas) /Macau www.mczthomas.com lives and works in Macau Graffiti painting&spray, Installation, Short Movies
Since the advent of quantum theory we can assume that the universe does not reduce to elementary particles. If the universe is not made up of particles, it cannot be partitioned. This also means that we humans are not parts of reality but rather participants; we enter into the universe at the same time as it enters into us. I am a participant in a process of continual genesis. The universe is continually forming itself anew from out of a living web of interrelations at the micro level. It is from this structure that everything comes into being. As one of its participants I have direct knowledge of its nature, I have direct knowledge of the interrelations between spirit and matter, of the nature of the living.
In my work I am attempting to let this knowledge guide the process. The main constituents of this process are the application, distribution and removal of paint on paper. The aim is to develop a chaotic chromatic structure, which I intuitively attempt to steer into an ordered pictorial structure. This structure is the result and manifestation both of inner movements and the external visible world. I see the intersection of the two as a kind of cosmology.
The ancestors of Art Civilization and Human Experience アート、文明、人類の歩みと祖先たち
Their lives Our life 彼らの人生、私たちの命
Their memories Our memory 彼らの記憶 私たちの記憶
Do you remember? 忘れてない？ I ask you – look! 頼むよー見て！
From a young
age, the artist has had a deep fascination with ancient cultures and their
artworks. This
exhibition was created from a personal desire to reconnect with these long-gone
civilizations, and study their various expressive styles in order to deepen his
own range of artistic expression. On a broader
level, he hopes to showcase their richness and rekindle some interest in
them. The main
cultures and civilizations that formed the inspiration for this
exhibition include:
Egyptian, Mayan,
Aztec, Olmec, Mixtec, Mesopotamian, Middle Eastern, Indus Valley, Easter
Island, Indonesia, Chinese, Britannic, Slavic, Celtic, Germanic, and Australian
Aboriginal.
He started taking photos in his teens; however, it became
his main focus after retiring from a company at the age of 24.
He is able to capture unusual scenery or moments found in
daily life.
He also captures lifelike images of music festivals and
art festivals from all over.
But on the other hand, he expresses the loneliness or sadness, and this is seen in his album “Galan”. You can enjoy these 9 pieces from the series in the exhibition at this time. –all are gelatin silver print.
translation: Nagisa Mitumori
Opening Party Sunday 18th August 16:00-18:00 @AIRY studio bring your own bottle [byob]
Painting, performance, sound sculpture, tea making, video and print
residency July 2019
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オーラ・プリマク
ウクライナ
絵画、パフォーマンス、サウンド彫刻、茶席、ビデオ、版画
２０１９年７月滞在
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I am a
London-based Ukrainian artist and herbal tea maker who uses art as a tool for
remembering and applying inter-generational knowledge in impactful ways. My current body of work originates in
fascination with folklore surrounding herbal tea and medicine. I recreate the
elements of Eastern European healing tea drinking rituals in the form of
participatory performances. The background of long lineage of women-herbalists
in the family gives me the agency to activate these exchanges. The most recent
concept of tea performances, designed within the framework of SPACE London
Creative Network, invites audience to describe/recreate for me their personal
rituals, addressing the disturbance and entropy in social fabric.
Audience participation is very important for me. I start with inviting one to three people for conversations around a cup of herbal tea. I like calling these meetings over tea – ‘social sculptures’. The reiterations of the performances at the Phytology Bethnal Green Nature Reserve and the Ennismore Old Sessions House served as a launch pad for the consequent painting works. The paintings are exclusively of women in various states of action, urging for change, fulfilling their desires and crafting own narratives.
Venue : Artist In Residence Yamanashi [AIRY] studio
Address : 2-37-2 Marunouchi, Kofu, Yamanashi
Fee : donation required
Applicate : FB event page, FB or Instagram DM
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Olha invites the audience to participate in
her drinkable sculpture to both take it in as an object of contemplation and
consumption. The audience are welcome to taste the fermented drinks
displayed in the installation. The
fermented drinks – kvass, kefir and amazake – are all ancient low-alcohol
recipes, kvass being first recorded in the Kyiv Rus Chronicles.
Fermentation, as well as dried herbs serve as a metaphor for transformation,
death and rebirth. As bacteria breaks down the plant ingredients into
easily digestible nutrients, it is transferring energy to their next consumer
in the food chain.
The miniature
dioramas that comprise the sculpture along with the drinks are populated with
anthropomorphic figures. The Jomon dogu-like imagery brings to mind the idealised
hunter-gatherer society in equilibrium with nature. The uncanny landscape
where normally delicate dried herbs menacingly tower over the clay figurines
bring to mind the role of humans in their environment.
This sculptural
installation represents the negotiation between natural and
man-made.
The artwork offers
the audience a frame for participation and transformation as they insert
themselves into nature’s greater metabolic system.
オーラは冥想と飲料の対象として、それを取り入れるために彼女の「飲める彫刻」に参加するように観客に勧めます。観客のみなさまにはインスタレーションに展示されている発酵飲料を味わっていただけます。発酵飲料のクバス、ケフィア、甘酒 はすべて古代の低アルコールレシピで、クバスは最初にKyiv Rus Chronicles（原初年代記）に記録されました。発酵または乾燥ハーブは、変容、死、そして再生の比喩として役立ちます。バクテリアは植物の成分を消化しやすい栄養素に分解するので、食物連鎖の次の段階にエネルギーをつなぎます。
I am an installation Artist, Sculptor and Eco Therapist who is working site specifically within both urban and natural space. Building installation inside and outside; I predominantly work with wood, stone, mirror, fabric and with the land itself. I am currently working with fallen tree, minimising my material use. My work is sight responsive, reacting with sensitivity – to what already exists. Following organic processes of ephemerality, fluidity and transformation my work attempts to make connections that are seen and unseen – revealing the threads that run through ourselves and our environment.
I believe it is important to honour
what is already here. I create transitory installations, establishing a space
where the elements meet and harmonise momentarily, underlining a state of
impermanence. I also use photography to explore the seen and unseen, capturing
something that will never be here again.
I have three years experience
facilitating creative Art workshops with community groups in London and
Edinburgh. I believe creativity is born out of Nature – we are all creative and
nature can help guide us back to our intrinsic creative selves. I am interested in the deep exploration of
the self in nature and what it evokes for us creatively.
During an Artist Residency in
Shimoyoshida, Japan last year, I was able to build and reconfigure an outdoor
installation space for the local community. I worked closely with the land and
natural form and material. Working with
earth and land rhythm, The space was liminal in its fluidity – evolving and
lyrical. This concept of ‘liminality’ is something I am still exploring
within my work. I believe it is both
local and universal and exists everywhere.
During my stay at Airy, I plan to
develop ephemeral installations that explore liminality; as a place where we
find ourselves passing through.
Liminality is a rite of passage where everything is fluid and nothing is
fixed. I believe without hierarchy or order, transformation can take
place. Merging Art and Eco Therapy, I
would also like to reach out and provide workshops for the local community.,
further exploring how we relate to each other and to our surrounding
environment and the objects that inhabit it.
A big “Mandala” installed by all the participants using natural materials. Some material of flowers and branches are prepared by artist and staff the day before. エコセラピー: 外の世界と自分との関わりを考える すべての人が公平に自然を享受できる 五感を広げて愉しむ 精神を落ち着かせる など Installation starting by the center of Mandala Plus we started walking to the park and touch the trees, smell the flowers, picking up stones before creating Mandala. It was s good start of releasing our sensory.
the landscape speaks by Stephanie Whitelaw is a participatory installation in
response to a series of walks made from Kofu city to the forest of Mt.
Atago. The work explores the boundaries that exist between the urban
landscape and the natural world.
Stephanie
has explored themes of ritual and journeying; using the body as a bridge between
the city and the forest. Fragments of the walk can be seen in her
installation; words, objects and forms are held in space.
The
landscape speaks will involve a guided sensory walk in silence, inviting
the viewer to experience the sensory shifts that take place in nature.
The aspect of silence is central to the work;
silence can help to steer our attention to the changes that
are happening within and out-with the body as we journey through
The
installation will develop and evolve as participants take part; echoing the
true unfolding aspect of nature itself
