Cheong Hoi I/Macau



Mokuhanga, Painting, Papermaking, Handcrafts

residency March 2018






People are special individuals, but capitalism created a nihilistic worldview that only money exists. By participating in this social game, people gradually lose their humane instinct as in pursuing the true happiness in life – making a society that goes in a repeated loop without any breakthrough. Thus, it is important to understand oneself.

One can achieve the results from learning and comparing with each other, with people in the history who laid down ideas and visions through art and culture. Through art revelation – the process of appreciation, expression and dissection, Cheong found her way to understand herself and exchanging her ideas and visions with people who shares the same moment she does.

These ideas set up as a base for us to make a better and sophisticated self. Cheong’s pursuit in questioning the moment allows her to continue in exploring the relationship between herself and her art.

人間とはそれぞれが特別な個人ですが、現代では資本主義により金の存在が大きく左右する虚無的な世界観が形成されました。 このソーシャルゲームに参加することで、人々は人生の真の幸福を追求する人道的な本能を徐々に失ってしまい、有効な突破口を見出すことなく社会生活は繰り返されます。 そこで自分自身を理解することが重要になってきます。

歴史と芸術と文化を通してアイデアやビジョンを掲げた人々と学び、比較して結果を達成することができます。 感謝、表現、解剖のプロセスであるアートの啓示を通して、作家は自分自身を理解し、同じ瞬間を共有している人たちとアイデアやビジョンを交換する方法を見つけました。

これらのアイデアは、私たちがより良く洗練された自己を作るための基盤として構築されました。 このように疑問を抱く作家の追求は、作家と芸術との関係を探求し続けることを可能にします。


「春の風/Scenes on Earth」

March 24,25th  11:00-18:00 @AIRY

March 23,24,27,28,29th  11:30-18:00 @Naomi Camp

Naomi Camp:



I still remember the days when I look at Mt. Fuji in the morning, I can feel the soft breeze in the air, I look upon the field in front of me, the sky is as clear as a crystal. There was also a day when I was very excited waiting for the sunset together, the late Keiko Kadota, Director of Mi-LAB told me that the lights from the climbers will form a necklace on Mt. Fuji. All these details, all these feelings, combine and become a late summer story of Mt. Fuji.

Then, this time, another story is waiting for me. This March, I encounter Mt Fuji in a white dress. A stage of white, I am waiting to open a new page of story, a story about mokuhanga, about the nature, about the people there and about me.

明け方、柔らかい空気に包まれ、目の前の草原や宝石のように透きとおった空を見上げながら富士山を見ていた日々を、今でもはっきり覚えています。夕日が沈むのをずっと待っていた日もありました、Mi-LABのディレクターKeiko Kadotaさんが、富士山登山者の光が集まると、富士山にネックレスがかかると教えてくれたからです。このように様々な記憶や感情が、夏の終わりに作り上げた富士山のストーリへと繋がっていきました。

そして今回は、また違うストーリーが私を待っていてくれました。3月、白いドレスをまとった富士山を見ることができたのです。富士山が白いこの季節、新しい物語の1ページを開こうと待っていました。木版画、自然、そこに生きる人々、そして私自身についての物語です。Translation: Nagisa MItsumori



Sandra Leandersson/Sweden

Sandra Leandersson


Textile, photo, text, video

residency March 2018








Central for the artistic practice is the existential wonder, sometimes trough
collecting material from nature, photo, collage, text but every so often trough
embroidery with beads and thread. I proceed from a color or a piece of fabric that is appealing at the moment and sketch forms that I want to embroider. Often it is abstract forms that I extract from my fantasy, it can be a feeling that wants to come out and get a place in the world. By using my imagination I feel the freedom to continue to materialize, explore and go beyond what I know. Other times I use forms that are very clear in what they symbolize. Incommon for both approaches is the will to find a language to describe the subtleties, unsteadiness, joys and meanings -impossible to categories – that are the core in our being. Playfulness is an important component and the color scheme has romantic references. The embroidery can be flat but also applied on a 3-dimensional form. In size they varies from 10×10 cm –
1×1 m. To embroider is a structure for me to act within that also have endless
possibilities and in this overwhelming world I’m experiencing that to embroider gives sense to slowness.
During my stay at AIRY I want to sketch on embroideries that are more rich in content, use layers and different textures and use the circle form as a background.


刺繍は平面だけでなく立体の場合もあり、サイズも10x10cmから1x1mまでと様々だ。彼女にとって刺繍をすることは際限のない可能性の中やこの巨大な世界の中でゆったりとした感覚を味あわせてくれるものである。AIRY滞在中は内容に富み、レイヤーや様々な種類の素材を組み合わせたり、背景には円形を使いたいと思っている。Translation : Mina Ino


「春の風/Scenes on Earth」

March 24,25th  11:00-18:00 @AIRY

March 23,24,27,28,29th  11:30-18:00 @Naomi Camp

Naomi Camp:



Central in my practice is the existential wondering, I am collecting emotions and experiences and make embroideries with threads and beads out of what I feel. I see the embroidering process, the action in itself as the art. To embroider is a structure for me to relate to in everyday life, it gives the slowness that I need a meaning. I am interested in shapes and symbols and use this in my work together with a lot of color.

During my stay at AIRY I have been working on a project I call “Dear life”, it’s a tribute to life and I base every work within the project on the circle shape.



AIRY滞在中は、“Dear life” (親愛なる生命、命、一生..)と名付けたプロジェクトに取り組んできました。生きとしいけるものへの称賛、讃歌として、丸い円の中に全ての作品を描きました。translation: Nagisa Mitsumori


Julia White/Australia

Julia White


painting, drawing, sculpture, installation

residency March 2018







I have made four short journeys to Japan in 2007, 2011, 2014 and 2015 and each time I have been exceptionally inspired and made work based on my experience.  I resolved I would try to learn the language and return for a longer period to make work.  I am interested in Chinese and Japanese historical painting and drawing and the presence of qi in ones’ work.  I am interested in the relationship between nature and people, the way we disperse ourselves in space and place, the way place and people inform one another.  I am hopeful I can come to Japan to make work rather than travel as a tourist.

作家は2007年から2015年までの間に4度の短期の旅行で日本を訪れた。その度に非常に刺激を受け、その経験をもとに制作を行ったことから、日本語を学びより長い期間滞在して制作活動を行うことを決心した。作家は中国や日本の歴史画とその中の「気」の存在に関心を抱いている。自然と人との関係、空間や環境の中に自分自身を散り散りに溶け込ませる方法、環境と人々が互いにコンタクトを取り合う方法について知りたい。Translation : Mina Ino


「春の風/Scenes on Earth」

March 24,25th  11:00-18:00 @AIRY

March 23,24,27,28,29th  11:30-18:00 @Naomi Camp

Naomi Camp:



Life arising – scenes on earth

In these works on paper I am celebrating the marvel and mystery of action.

In particular I celebrate work – simple ordinary overlooked work as well as wonderfully skilled work.  I celebrate the overlooked work of women and the work of labourers and artists. In my work generally I am interested in the dynamic and sensory qualities of place and our complex relationship to places. In recent work I have made paintings from observational drawings and photographs of major pilgrimage sites in Japan, where I experience a sense of magic and other worldliness, of a powerful culture interacting with nature for a long time.

生の息吹 ー この地球に映るもの

作家の作品に込められた思い、それは人の動きや活動に映し出される驚きや神秘的なものに光を当てること。特に人の携わる“作業”に価値を見出している。一見見落としてしまいがちな、単純で日常的な作業から、非常に熟練した作業まで。女性が携わる忘れられがちな何気ない作業と、働く者やアーティストの作業、それらを共に祝福している。彼女の作品には、特定の場所に映る動的で知覚的な感覚、そしてそれら様々な場所における人との関係性に込められた思いが反映されている。近年の作品は、日本の名立たる信仰の土地を題材に、模写や写真をもとに制作されている。それらの作品には、作家が享受した、いにしえから自然と共存してきた日本の力強い文化、そしてそこから受けた神秘的で現実離れした不思議な感覚が描写されているのである。Translation: Hanako Kishimoto

Ritali Chione /Hong Kong

Ritali Chione

Hong Kong

lives and works in Barcelona

Paintings, illustrations, multimedia

residency February-March 2018







As a realistic portrait painter my primary concern would be the aesthetic of my artwork. Besides the aesthetic, I always contemplate what should be the relationship between artist, object (the sitter in case of portraits painter) and the art viewers.  Art should be an interaction, a dialogue, an exchange of ideas. Traditionally portraits were often commissioned by the rich and powerful while the painter would need to please their clients. Or the painters would pay the sitter to pose for them and serve as a silence object. I would like my sitters to tell their stories and the resulted artwork would be a collaboration.

My proposed project for the residency would be “Everybody has a story”

We are like stories. We are constantly telling and hearing stories. My artwork would be a series of portraits of local residents or illustrations inspired by the residents’ stories. The participants should be non professionals (not writers, filmmakers nor bloggers).  The aim is to give people who would not normally involve in creative process a chance to tell their stories to the world. The stories can be personal histories or entirely fictional. The artist will act as the editor and the producer. At the exhibition an except of the story will be presented alongside each painting. The full audio stories will be available online.



作家はモデルになる人たちの彼らの物語を聞いて作品とコラボレーションする。人は絶えず何かしらの物語を話したり聞いたりしているし、私たち自身も物語のようなものなのだ。作家はこのレジデンシープログラムにおいて”誰もにでも物語がある” というプロジェクトを提案している。地域の人々のポートレイトや彼らの物語からインスピレーションを受けたイラストのシリーズを制作する。対象はライターや映像作家、ブロガーのような専門的な人ではない方がいい。普段の生活で創作活動とは無関係であろう人々に彼らの持つ物語を世界中に伝える機会を与えることがねらいだ。その人の歴史でも完璧な作り話でもよい。作家は編集者やプロデューサーのような役割をし、物語の一部を抜粋してそれぞれの絵と合わせて展示をする。また話してもらった物語の音声記録の全てをオンライン上で視聴可能にするつもりだ。

Translation:  Mina Ino


「春の風/Scenes on Earth」

March 24-25th  11:00-18:00 @AIRY

Art should bring people together. My artwork would include a scenery & a series of portraits of people I have met in Kofu. For people from Kofu they would find places & things they see everyday completely ordinary. For me everything is new and exciting. I met some incredibly awesome people – I would like to paint them all if I am not seriously running out of time. So in this exhibition you will see a few of them. At this time when everyone has a smart phone and taking loads of photos everyday you might ask what is the point of making realistic paintings. Come see for yourself and I hope I won’t disappoint you.

アートは人と人を結びつけるものである。作家の作品は、甲府でめぐり逢った風景や出会った人々の肖像画によって構成されている。甲府の人々にとっては、街の風景や毎日目に触れるものは単なる日常に過ぎない。だが作家にとっては、すべてが新鮮で心を躍らせるような出会いであった。滞在中、忘れられない素敵な出会いがあり、時間が許せばそれらすべてを描きたかったと作家は願う。本展示では、そんな出会いのうちの一部を覗くことができる。今日、スマートフォンが1人に1つある時代、毎日絶えず写真を撮り続けている中、現実世界をそのまま写実することに何の意味があるのかと疑問に感じるかもしれない。そんな疑問に、作家の作品は答えようとしている。Translation: Hanako Kishimoto

Danika van Kaathoven/Netherlands

Danika van Kaathoven


product design, image making

residency February 2018







I graduated from the Product Design department of ArtEZ University of the Arts in Arnhem, the Netherlands. I have a fascination for storytelling, poetry and the interplay between words and objects. In my work I dive into the world of everyday objects and observe and play with their ‘’rules’’ and interpretations. For me, it is all about exploring the amazing potential of the ordinary objects we surround ourselves by and finding new shapes and silhouettes that are hidden in our daily lives.

In June 2017, I graduated with THE WALLS WERE COVERED WITH CUT-OUTS, a project where I studied the idea of positive and negative space through the paper cut-out. Cutting paper with a pair of scissors became my starting point to experiment with shape in a direct and intuitive way. I explored the intentionally cut form and the residual form (‘’rest form’’) that simultaneously appeared. Rest form does not mean waste. I consider both parts of the cut-out, its positive and negative shape – the form and the rest form – as equally valuable. There is an interaction between the two where they influence each other. I was fascinated by the poetic simplicity of the cut-out and the amazing beauty and potential I saw in the forms that appeared while cutting in old newspapers, magazines and advertisements. The cut-out became my platform to play with the perception of the ordinary.
With the poetic simplicity of the cut-out and this idea of form and rest form in mind, I started my dynamic design process: by combining the cutting technique with other simple methods, such as folding and pasting, I constantly transformed the shapes, creating an evolutionary chain of new forms while keeping an eye on both form and rest form. It resulted in a broad collection consisting of scarves, chair covers and paper collages, which show my love for playing with shapes and silhouettes.

During this Artist in Residence, I will continue to develop my graduation project and work on a new series of form and rest form. I want to dive into the Japanese daily life and zoom in on the objects that play a part in it. I plan on analyzing these everyday objects and their silhouettes using the idea of form and rest form. Through its objects, I want to learn more about Japanese culture and explore the shapes and silhouettes that are hidden in Japan’s daily life.


大学卒業時の紙の切り抜きによるポジティブ・ネガティブスペースのアイディアを研究した「THE WALLS WERE COVERED WITH CUT-OUTS ー 切り抜きで覆われた壁」というプロジェクトは直接的で直観的な方法という形を試みる原点となった。意図的に切り抜かれた形と同時に現れるそれ以外に残った紙の形を探求した。その切り残しは単なるゴミというわけではなく、そのポジティブかつネガティブな形ー意図的に切り抜かれた形と切り残しの形ーの両方が同じように価値のあるものだと考えている。互いに影響を及ぼしあうその2つの間にはある相互作用がある。古い新聞紙や雑誌、広告を切り抜いていた時に現れた様々な形の中にみたその詩的な単純さと素晴らしい美しさと可能性に魅了され、作家にとって切り抜きは日常の知覚と戯れる土台となった。


AIRYに滞在する間、このプロジェクトを続け、切り抜きと切り残しの新しいシリーズに取り組む。作家は日本の日常生活に飛び込み、そこに溶け込んでいる物をクローズアップしてその形やシルエットを分析して、新しいシリーズに反映させる。それらを通して日本文化を知り、日常生活に隠された形やシルエットを探求したい。Translation:  Mina Ino



A playful analysis of daily life in Kofu, Japan








会場:AIRY  400-0031 山梨県甲府市丸の内2-37-2  2F

opening 24th 16:00-18:00,

artist talk, live music: Djembe+whistle+guitar


(re)semblance is a series of photographs and collages, inspired by and taken from daily life in Kofu, Japan. It is a playful analysis of everyday settings that are very real and familiar, yet always combined with a slight twist of reality.

I treasure the poetic side of daily scenes and always look for different ways to interpret the things people see on a regular basis and the steps people might have taken a thousand times before, but perhaps not thinking more of it than being mere trivial encounters.

Throughout the simple method of collage-making, I give shape to my impressions of life in Kofu city and show the original silhouettes that are hidden in these Japanese daily scenes.





「Ms.Danika van Kaathoven’s wonderful exhibition at AIRY in Kofu, Yamanashi, Japan this weekend !


今週末、オランダ出身の女性作家 ダニカさんの個展が開かれています。






Anahita Razmi/German

Anahita Razmi


fine art, video, photo, installation , performance

residency November 22th-December 1st 2017









2015年、ドイツ、Erich Hauser FoundationのWerkstattpreis受賞
2011年、ロンドン、フリーズ財団The EMDASH Award受賞


流用、翻訳、再現:ベルリンを主な活動地域とする、イラン人としてのバックグラウンドを持つアーティスト、アナヒタ・ラズミ/ Anahita Razmi (の作品は、文化と場所の移動を基軸として展開している。国家的および文化的意義のあるオブジェクトの使用や、重要なアーティスト作品の引用を行うアート・プロジェクトでは、輸入/輸出と、貿易の条件、パラメーターの使用と誤用、一般的なグローバル・イメージと貿易のロジックの転換を可能にすることに挑戦している。


中村政人 (アーツ千代田 3331 統括ディレクター)
Anahita Razmiさんは、日本におけるイラン文化をリサーチ対象にしている点が興味深い。1992年まで続いたイランとのビザ免除の観光協定が廃止されるまでは、多くのイラン人が日本に滞在していた。現在も中東問題は、緊張感が続いているが、日本国内ではそのリアリティがあまり感じられない状況である。その意味もあり、Anahita Razmiさんのレジデンス滞在型プログラムによるリサーチ計画は、日本に埋もれてしまっているイラン文化に光をあてる貴重な機会となる事を期待したい。

鷲田めるろ (金沢21世紀美術館 キュレーター)


☕『Tea with Anahita』@OpenAIRY
日時:11月29日(水)午後 1:30-3:00
会場 : AIRY 400-0031 山梨県甲府市丸の内2-37-2
作家 : Anahita Razmi (アナヒタ・ラズミ) ベルリン在住
会費 : お茶代実費
中東(イラン)にバックグラウンドを持つ。今日の日本に存在する日イラン文化について学ぶ。 日本とイラン(シルクロード時の日本とペルシャ)間の貿易と交流の例の使用。中東(イラン)の社会情勢とメディアの認識に焦点を当てる。政治情勢、視覚的記憶、イメージ認識、ステレオタイプ、オリエントの間で変動する一般的なメディア、遺物について再考するためのミクスト・メディアによる実験的ビデオ、インスタレーション、公演および服装など。

※本イベントはMove Arts Japanプログラムの一環として(社)コマンドNの協力のもと、AIRYの主催として開催されます。
Move Arts Japan

Anahita Razmi ‘Arsenals’ HD Video, 16 min 08 sec, loop, sound, black sprayed waterpipes, 2012
Istallation View is from Kunstverein Hannover




Anahita’s study of Grapes in Rinno family grape yard that is coming from Silk Road originally. Aiming to the research of Iranian migration culture in Japan. She seems to have something inspired.

Christoffer Billebo /Sweden

Christoffer Billebo


Painting, Photography, Digital drawing, Digital Painting, Film

residency November 2017







 Through images, and the image of images, I’m working with the contingencies of the human hand and mind. The gap that appears in-between the perceived reality and fiction, the analog and the digital. There is a midpoint where these two can affect each other. Where you find unanticipated grey areas, where the lost gets visible and valuable loses it value.

I never consider myself as a good painter. The clumsy brushstroke.
Predetermination does not exist. Process and digestion is the ongoing result, failing in paint- ing opens up for alternatives. Images morph between abstraction and object, pausing in the two dimensional. When the painting freezes at the surface, its physicality expands.

At the end of my stay at the residence program I would like to make a small exhibition with a few site specific paintings and objects. Document these paintings, objects and the event with a short film of the exhibition. Invite some local residents and some local children and briefly asking them (in  beginner Japanese) about what they see and think, document their response and later on back in Sweden edit the film and audio from the exhibition. Make my own fictional translation of what I believe their thoughts were.




滞在の終わりには、その場所に関係のある絵や物を使った展示を行い、その様子を映像と文書で記録する。また地元住民や子供たちを招待し、彼らが見て考えていることについて(簡単な日本語で)尋ね、回答を文書化し、帰国後に映像と音声を編集予定。彼らへのインタビューをフィクション的に翻訳したいと思っている。(translated by Mina Ino)



山梨英和大学 井上正剛教室「地域研究・実践」レクチャー




Stephen Hennessy/UK

Stephen Hennessy


Drawing, Painting, Printmaking

residency November 2017







 The principal aim of my forthcoming residency is to explore the relationship between Japan and the UK with particular emphasis on fast food, gentrification and the role of social media in popular culture. Food trends fed to us via social media are interesting in that we appear to care deeply about where and what we are eating, via selfies, tags etc to demonstrate this. This mirrors how we interact with art, going to art galleries and telling everybody about it via Facebook. We want to be seen to be ‘cultured’ people, appreciative of the finer things in life and intellectually active. The role of gentrification in all of this being twofold – it pushing the poorer people further to the outskirts where smashed avocado on gluten free bread is not readily available, Chicken Cottage though is. Secondly, the penthouses of said gentrified area will mean an array of cafe’s and restaurants serving food you’re more than happy to seen in and photographed with.

When you think of Facebook posts saying ‘5 years ago today’, you’ve been friends with this person or had this experience it’s similar to older generations  talking of yesteryear. Things like old dance halls, famous pubs and fish and chip shops. The fate of fish and chip shops is interesting, especially in London, once a staple on every street corner and a weekly treat for the working classes they’ve now all but disappeared. They’ve been replaced by Chicken Shops(like Chicken Cottage) serving deep fried chicken, fries and a drink for £2.29 while ‘Traditional Fish and Chips’  is marketed and sold to tourists in pubs and restaurants for £12 a go. This disparity in wealth all over London is no better summed up by the recent tragic fire at Grenfell Tower where many poorer people lost their lives on account of cheaper more flammable materials being used in the refurbishment by Kensington and Chelsea Council(in control of one of the wealthiest boroughs in London).

My primary goal with this residency is to become involved with the local community, learning of their customs and their relationship with food, how it compares to the UK. Drawing parallels between the food consumed by poorer people, it’s popularity and how it’s seen at home and abroad. It would be exciting to create some fusion between the two cuisines, in the same way that it’s popular for some restaurants here in London to do the same – Sushi/Samba being an example that fuses sushi with the Brazilian grill.

My research – including any drawings, paintings and performance/interactive pieces will be displayed in a final exhibition in Kofu, Japan and in London.



彼にとって滞在の第一の目的は日本とイギリスとの間の関係性、特にファストフードの高級化や大衆文化におけるソーシャルメディアの役割について探求することである。私たちは「ソーシャルメディアを経てフードトレンドが供給されている」ということを「セルフィーやタグ付けなどによって自分たちがどこで、何を食べているかに深く気を取られるようになること」で自ら証明している。これは美術館へ行き、それについてFacebookにアップロードし、皆に見てもらうという我々のアートとの関わり方を写している。私たちには周りからは知的に活発でより素晴らしいものを識別できる「教養のある人」として見られたいという願望がある。このようなあらゆる高級化には社会に対して二重に働いている。まず、より貧しい人々をChicken Cottageはあってもつぶしたアボガドを乗せたグルテンフリーのパンなど容易に手に入らないような郊外へ追いやっている。次に、高級化されたと言われているペントハウスは、その場にいるあるいは一緒に写真に写るだけで大いに満足感を与えてくれる料理を提供するカフェやレストランがずらりと並ぶのと同じことである。

Facebookが「5年前の今日」、「この人と友達になりました」あるいは「こんな経験をしました」と自分の過去のアクティビティを知らせてくるのは、年をとった人々が去年のことについて話すのと似ている。古いダンスホール、パブやフィッシュ&チップスの有名店のようなことだ。フィッシュ&チップス店の運命は興味深い。特にロンドンではかつてすべての通りの角にあった大定番であり、庶民にとっては毎週の楽しみであったが、今やそのほとんどが姿を消した。観光客へ「伝統的なフィッシュ&チップス」がパブやレストランで12ユーロで売られている間に、庶民が通った通りの角の店はChicken Cottageのようなフライドチキン・フライドポテト・ドリンクを2.29ユーロで提供するチキン屋に取って代わられたのだった。ロンドン中に広がるこの富の不均衡は、最近のグレンフェルタワーでの悲惨な火災に要約されているも同然である。ロンドンで最も裕福な行政区の一つ、ケンジントン・チェルーシー区の管理下にある評議会による建物の改修でより安くより燃えやすい素材を使用されたために多くのより貧しい人々が命を落としたのである。


作家のリサーチ-ドローイング、ペインティング、パフォーマンス、インタラクティブな断面-は甲府とロンドンでの展示で発表する。(translated by Mina Ino)



[Local Design] @studio pellet Kofu

talk & live painting




Andree-Anne Mercier/Canada

Andree-Anne Mercier


Painting, drawing, sculpture, installation, computer art

Residency October – November 2017


アンドレ・アン メルシェ





I’m a multidiciplinary artist; painting, drawing, sculpture, installation and computer art are my skills. I want to include in my work kitsch of different cultures and nation. In order to do so, I must learn and open my universe.
My approach is eclectic : it varies of abstract arts to figurative portraits; installation to collage; illustration to video. What gathers my corpus it’s a certain taste for irony, absurd and everyday life. On the visual plan, the pastel or pop colors, the rounded off and soft forms, miniatures, compose the majority of my work.
My practice explores the universe of popular culture and tends to question various aspect of the society. I offer a mockery of the society through absurd, colored and dreamlike universe. I want to raise the commonness of everyday life and give it an impressive status. My approach tends to accept, to analyze and to use all the elements carried by hand to make it playful and accessible. I work with objects who have served and are now old-fashion, anecdotes which took place and were
transformed and forgotten in time. They are there and waiting to serve.
The use of mass consumption is for me a way to question and criticize the subject. An auto-derisory shutter sector is always present in my work; I’m include in the mass thus, I self-criticize myself. I use kitsch as esthetic template and the ways of marketing popular culture as autopromotion of my work.
I also play with the status and convention of the art world; transform an object from a trash can into an art piece, it’s fascinating. The mediocrity calls out to question me and I position it in an imaginery universe, where the limit between truth and forgery is thin. Playful and easily accessible, my work questions the everyday life of the mass. By using key referents and humour, it can be appreciated
by the common run of people.




アンドレ・アン メルシェ


                            コラージュワークショップ 15:00-17:00 無料・予約不要

   オープニングパーティー 18:00-20:00


@Picnic  〒400-0032 山梨県甲府市中央4-3-25  柳小路内

I’m a multidisciplinary artist from Montréal, in Canada. I graduated from UQÀM (Université du Québec à Montréal) in 2015. AIRY is my second artist residency in Japan. My artwork include different medium as painting, drawing, computer art, installation and sculpture.

My approach is eclectic : it varies of abstract arts to figurative portraits; installation to collage; illustration to video. What gathers my corpus it’s a certain taste for irony, absurd and everyday life. On the visual plan, the pastel or pop colors, the rounded off and soft forms, miniatures, compose the majority of my work.

My practice explores the universe of popular culture and tends to question various aspect of the society. I want to raise the commonness of everyday life and give it an impressive status. My approach tends to accept, to analyze and to use all the elements carried by hand to make it playful and accessible. I sometimes work with objects who have served and are now old-fashion, anecdotes which took place and were transformed and forgotten in time.

The present project I’m doing in AIRY, is inspired by my last 3 months in Japan. I visited Tokyo and Okinawa before coming to Kofu. I spend these three months studying and creating artworks influenced by what surround me, but especially buildings and environments. I’m curious about the information and the visuals that is around us. I’m using the shapes, forms and colors of the everyday life to create abstracts paintings and sculptures. In a way, art surround us in everyday life, sometimes we just forget about it. I’m trying to pick little details that seems useless to create something new with it. I like to decompose the photography I took, by isolating shape and color.  After I just play with it.







-Collage workshop with the coordinator Yuko Kanda-


-Opening Party-















Kei Ota (太田恵以)Japan,USA

Kei Ota

born in Japan lives in NY

painting, drawing, photography

residency September – October 2017







Kei Ota (b. 1988) was born in Osaka, Japan and grew up in New Jersey, USA. Previously she spent 16 years as a full-time ballet dancer before graduating from New York University in 2013 with a BFA in Studio Art. She currently works as an art educator for Studio in a School and Queens Museum in NYC.

This will be Ota’s first extended stay in her mother country since she was a child. In returning to her father’s hometown of Kofu she intends to investigate her deep ancestral connections and Japanese roots. Her research includes the lives of her late grandfather Eizo Ota and her late uncle Toru Ota. Eizo served as a Chief of Police in Kofu, implementing the first traffic technology in the 70’s. He was not only a civil servant, but an artist as a self-taught photographer. His son Toru, having watched his father’s dark room procedures, went on as a photojournalist with a 30-year career before his untimely passing in 2016.

Utilizing Eizo and Toru’s personal archives and collecting anecdotes from friends and family, Ota hopes to retrace her family’s steps and record both the visible and invisible changes in the city of Kofu since their time.

Ota will explore how the longing for home and cultural identity within herself shift as she uncovers her family’s lineage of image-makers, from Eizo to Toru. She hopes to create a dialogue around the idea of memory, loss, and a reconfiguration of identity based on bi-cultural experiences between the US and Japan.

Ota works in painting, drawing, and photography. Through the lens of biculturalism and her experience as a dancer, she is interested in investigating the power of the visual image and its physical and emotional presence to the viewer.









Flowing Out 2017 出店


Kei Ota Exhibition “えいぞう”

Sat 28th-Sun 29th @AIRY








日程: 2017年10月28(土)29(日)11:00-18:00

会場: 400-0031 山梨県甲府市丸の内2-37-2  AIRY



   28(土)16:00-18:00 無料・予約不要


平野千枝子xKei Ota



1991  新潟県美術博物館

1993  東京都新美術館開設準備室

1995  東京都現代美術館

2004    山梨大学教育人間科学部




photos by Ikumo Motosugi


Kei Ota -「えいぞう」展を終えて –