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.
artist：Stefan Guggisberg/ Switzerland mixed media www.stefanguggisberg.com
photos by Aki Yamamoto
I saw two of Stefan’s creating style during September 2019.
The first is Erasing/Removing oil color
that is applied on a thick paper. He never uses a brush. Erasers are cut a sharp angle in this technique. He erases or removes oil colors instead
of adding, he has created this style while ago by himself.
The second is drawing on a tablet by pencil then print out on a photographic paper. We almost believe that must be a photograph but this is a drawing. Soft and blurred gray tone attracts us a lot.
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
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
Aztec, Olmec, Mixtec, Mesopotamian, Middle Eastern, Indus Valley, Easter
Island, Indonesia, Chinese, Britannic, Slavic, Celtic, Germanic, and Australian
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
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
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
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.
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.
installation represents the negotiation between natural and
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.
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.
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.
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
installation will develop and evolve as participants take part; echoing the
true unfolding aspect of nature itself
I make paintings simultaneously in two scales- small works
on paper, and larger oil paintings. The small works are often an initial step
and direct the larger pieces. I have been thinking more about the relationship
between the two.
This past year I began a series of works on paper titled Accumbent. Accumbent is a scientific term referring to the way an embryonic leaf will wrap around the edge of a seed before folding in on itself. I often use watercolor and gouache as an initial step within my painting process, so these pieces were seeds to the larger works. It also references the wrapping action of the secondary forms. I wanted them to communicate touch and atmosphere that felt more internal and bodily. The oil paintings that followed where titled Nascent. I desired to find parallels between the body and the environment and used spaces and forms that felt embryonic and emerging.
I am often attracted to things that hold ambiguity. Maybe not fully formed, but open for different interpretations. My work often appears biomorphic and touches on representationalism, however is not totally identifiable. My hope is that they still feel familiar, familiar in the way an audience may connect through an experience of their own. We do not always look at art for explanation, we often look for evocation. Evoking a sense of familiarity and connection through abstraction is and has been a goal of mine.
My desire to visit and work in Japan came
partially from my love of washi paper. I decided that during my time at AIR-Y I
would work exclusively on paper. My time here is also focused on scale.
As a painter, I am often directed to go
bigger. This, as of late, has felt problematic to me. I believe Japan to be a
great place to explore working on a small scale. So, while I am here, the work I am making
is small, on papers (such as washi), cut, folded, collaged, and a bit
Illustration, New Media (interactive digital projects)
Residency June 2019
As a visual
artist working in interactive digital media, I create immersive spaces that
combine both virtual and tactile experiences. I achieve this convergence
through the development of small-scale “casual” video games using the RPGMaker
series of engines for 2D/pixelated work, and Unity for 3D-based virtual reality
projects. These worlds expand into the fabrication of physical objects, such as
custom peripheral controllers, illustrated zines, and handmade toys. Exploring
emotional comfort in the context of imaginative play defines the ways in which
I become more comfortable with myself as an individual. Soft colors, simple
environments, and round, friendly characters contribute to my primary goal as
an artist: create accessible places of comfort, connection, and belonging.
“My Friend Melon” is a cute, casual video game about food, friendship and small discovers. Play as Pan (a bunny or bear) and Melon the frog collects ingredients for Ultimate Snacks and cook up a relaxing time. The game is free to play during the open studio [Play in the Rain] in AIRY. Also will be able to download through [omulette.itch.io/my-friend-melon]
Animism is the belief that the boundary between the physical and spiritual is not absolute, but can be transgressed. According to this idea a spiritual force resides in all things; animals, objects, even landscapes. My work uses stone carving and organic elements to make installations drawing on ideas of animism and ritualistic practices.
In my recent exhibition “Erosion” , large limestone boulders were
placed in their natural state, forming an anchor in the centre of the
exhibition space, creating a path between the video projections which documented
the environment and literal, physical form in Mount Gambier. My previous
work had consisted of smaller scale hand carved limestone sculptures with
designs informed by mythology and folk-tales.
was originally going to carve limestone for this exhibition, however after
visiting the quarry in Mount Gambier and deep consideration, I decided to leave
the boulders in the forms in which they were excavated.
I realised that excavation is a large form of carving from the earth by
mechanical forces. I seek to show how materials change in an effort to temporarily
transgress boundaries that are set up by systems of categorisation.
AIRY’s current studio artist Noriko Nakamura (Melbourne)
is joining Open Airy program. We have organised a casual cross talk event for
this Saturday. Baby Rina is joining too. Please come along, kids are all
Title: Kofu→London→Melbourne Dates: Saturday 18th May
1:00pm-1:20pm Artist talk 1:30pm-2:30pm Cross talk
Talk topics: Why did I leave Japan? My story of how I
moved to Australia after dropping out of high school in Kofu. Thinking about
Kofu from an overseas perspective. Motherhood etc.
This is an English and Japanese bilingual event. No
booking needed. Free entry.
Noriko Nakamura She was born in Kofu in 1986. She
currently lives and works in Melbourne. Noriko moved to Australia after
dropping out of high school in Kofu. She graduated from high school in a small
town called Geelong. After this she moved to England to study fine art at
Central Saint Martins college for a year. Following this Noriko studied fine
art for four years at Victorian College of the Arts in Melbourne. She maintains
her art practice while teaching at Melbourne Uni. Noriko has an 11 month old
baby and is a current Airy studio artist until the 23rd of May.
Instructor: Sofia Eliasson/ born Sweden, lives &
Belongings: Small urban trash like flowers, leaves,
tree twigs, stones, candies and paper
Limit: around 8 people
Application: DM via FB & Instagram
Welcome to join HAKONIWA workshop with Swedish artist
currently artist in residency at AIRY, Kofu.
Eliasson´s work partly evolves around imprint and trace and for this workshop we will together create a miniature garden that imitate our surrounding streets. Please bring for this workshop, something you can bring from the street, may it be flowers, leafs, a small wooden twig, stones or small urban trash like candy wrapping or paper.