Aomi Kikuchi

Japan

I make sculptures, wall pieces and garments using textiles and found objects to explore Japanese aesthetics and the philosophy of Buddha. They are “Wabi-Sabi”, the beauty found in imperfections, and ”Mono-no-aware”, the feeling of sympathy for changing or perishing phenomena or substances. Closely related to the philosophy of Buddha, these can be summarized in three key words: impermanence, insubstantiality, and suffering. My work addresses infinity as the succession of fleeting and brittle activities. With freedom and flexibility, I combine acquired knowledge and experiment and create art to inspire dialogue and reflection on these concepts through materials and aesthetic philosophies. I actively use scraps that come from both my working practice and the environment around me.

1. What’s your background?

My first professional career was a fashion designer. After that, I was fascinated by Mr.Itchiku Kubota's Tsujigahana dyeing method, and started learning Kimono Yuzen dyeing. I continuously acquired various dyeing ways from dyeing craftsmen. I gained not only dyeing techniques but also other crafts regardless of genre. In addition to Western painting, Japanese painting, and ceramic art, which are the basic techniques of art, I also practiced modeling, knitting, sewing, braiding, Japanese embroidery, and European porcelain painting. I am particularly interested in traditional Japanese crafts and textile / textile art. Currently, I am refining Japanese kimono weaving and lacquer techniques in Kyoto. While producing works and honing my skills and knowledge, I received a BFA from Kyoto University of Art and Design and an MFA from Pratt Institute.

2. What does your work aim to say?

My work is based on Buddha’s philosophy. Buddha reminds us to live in the moment, especially when we are obsessed with the past and future. Because the world is immortal and insubstantial, these infinite human desires create various sufferings. Buddha also gives mercy to not only humans but also animals and plants, saying that every life is equally precious. Everything is finite and uncertain, but our thoughts have an eternal concept, and the activities of life and our scientific and cultural activities can last infinitely. I consider this kind of infinity to be a series of finite and temporary events. From these concepts, I use fragile and non-durable materials to create light and delicate pieces.

3. How does your work comment on current social or political issues?

I think today's social and political problems are caused by the desires of people at the national, corporate and private levels. For example, countries and individuals pursue their interests in order to maintain their superiority. They discriminate against those who look different or who they think are inferior to themselves. All creatures are mercilessly killed if they are considered pests. They pursue an endless craving for their comfort. And when something is a little uncomfortable, they feel stressed.
To make the world a better place, we need to foster tolerance and compassion, and reduce greed and arrogance.
Through my work, I express the ephemeral nature of life and the non-permanence of the world, and remind people that all life is equally precious and irreplaceable. It is also important to concentrate on living every moment.

4. Who are your biggest influences?

Itchiku Kubota, a craftsman of Yuzen dyeing and a globally acclaimed artist known for his Tsujigahana kimono dyeing method (a revival of the medieval method) is one of the most influential artists in my art. I knew and loved his works, but it wasn’t until I encountered and joined his private dyeing school that I came to understand how deeply his creations would affect me. He was dispatched to the battlefield during World War II and was later detained in Siberia. I heard that many of his companions died, but he was encouraged to stay alive in the beautiful Siberian sunsets. He announced “Itchiku Tsujigahana” at the age of 60. I was always impacted by his artistic spirit.I was particularly inspired by how he maintained his strong enthusiasm and passion when he was unable to immerse himself in art. My experience of learning Yuzen dyeing from a great master was a cornerstone of my career and had a very significant impact.

5. How has your art evolved over the years?

I devoted myself to making kimonos for 20 years while learning various dyeing techniques. After graduating from Kyoto University Art and Design, I belonged to a craft group and produced dyed panel works. I studied at Pratt Institute and expanded my work from dyeing to interdisciplinary approaches such as installations and sculpture. At the Textile Art Center Residency, I expanded my knowledge of textile art and have been involved in innovative textile art trials ever since.
When I was working on dyeing, I aimed for work pieces that would be "beautiful" and "perfect" using expensive and sophisticated materials. After studying aesthetics and contemporary art at Pratt's master's program, I realized the importance of the meaning of art. Through my commitment to art and involvement with society, I am able to face my inner self and I am trying to consistently put relevant messages in my work as an artist.

6. What does art mean to you?

Introduced in the 1960s and 1970s, conceptual art emphasized new ideas and the discovery of values that differed from conventional ideas. Since then, contemporary art in the world has been under this trend. Yayoi Kusama, Yoko Ono, and Takashi Murakami are attracting attention as Japanese contemporary artists. However, in Japan, art is translated as "bijutsu: beauty and technique" or "geijyutu: skill and technique". Given these definitions, traditional ways of thinking are still prevalent in Japan. People tend to appreciate technical perfection and conventional beauty. Therefore, it is still challenging for the majority of Japanese to understand and evaluate contemporary art.

My work was also a pursuit of technique and beauty. I did not fully understand the significance of contemporary art until I studied at Pratt MFA. We will come to the conclusion that there is no real benefit from art in terms of immediate productivity and efficiency. Now I believe that contemporary art plays an important role in society to make the world a better place. Hiroyasu Wakabayashi, creative director of Dentsu (Japanese advertising and public relations company), says that artists have four major potentials: problem-raising, imagination, practicality, and co-creation. These possibilities can contribute to branding, innovation, and organizational revitalization and vision. Business communities are aware of these chances and are beginning to use the power of artists. Not only can the power of the artist be put to good use in business, but it can also unconventionally solve fundamental problems such as race, gender, and environmental issues. The creation of new visions and values by artists gives us the opportunity to step into new stages of the world. Living in this era, I want to be an influential artist by elevating myself and gaining deep insights.

7. What’s the most valuable piece of art to you?
The most precious work for me is a piece that depicts my artist statement strongly. They are impermanence, insubstantiality of life, pain caused from desire, and merciful love. I believe that understanding and accepting these Buddha’s teachings can lead us to mindfulness which is what I am also working towards.

8. What’s next for you in the future?

After experiencing weaving for the first time at the Textile Arts Center in Brooklyn, I decided to move to Kyoto to advance my weaving techniques.Traditional crafts still remain in Kyoto, and I also have begun to learn Japanese lacquer crafts. I am eager to make use of these experiences in my work.
I discovered that anything could be used as a material, and recently I started to add value to things that were thrown away as garbage, such as fallen hair and fiber scraps. I am actively incorporating materials that were not used and stored in my house and previous works into new works.The act of destroying what I make and creating something new from it is the same activity that takes place in nature.I would like to continue to create innovative works while considering social and political problems that human beings have long been unable to overcome such as environmental issues and prejudices.

Lydia Bauman