Uncontained Excitement: Woven Sculpture From Japan

Un c o n ta i n e d ex c i t e m e n t -Woven ScUlptUre from Japan-

June 28 - August 17, 2012CAVIN-MORRIS GALLERY

UNCONTAINED EXCITEMENT-WOVEN SCULPTURE FROM JAPAN-

June 28, 2012 – August 17, 2012

Cavin-Morris Gallery is pleased to announce Uncontained Excitement: Woven Sculpture from Japan, an exhibition opening June 28th, 2012 which will present the work of 14 sculptors who have expanded and veered from traditional craft, making sculpture rooted in basketry, but using organic and inorganic materials not part of the basket heritage of Japan. Few of these works are strictly functional. None of the artists have been previously shown in the United States. This group represents the second, third and fourth generation of artists breaking away from traditional bamboo forms, who use materials ranging from palm fronds to sheets of industrial plastic and paper packing tape. Some of the artists were inspired by, or were students of Chizu Sekiguchi, who herself was inspired by Hisako Sekijima (not in the exhibition) who came to the US in the late 1970’s and was herself inspired to push the envelope by the work of Ed Rossbach, John McQueen, and Kay Sekimachi. Rossbach was one of the first artists to recognize and push the best of the field of New Basketry as fine Contemporary Art. This is still not an easy path in either the East or West. This exhibition allows a group of smaller works to speak volumes for these new sculptural forms, astonishing in their wide range and conceptual complexity.

Michiko FukaiPoint of Contact I, 2004

Stainless steel, rattan, vinyl chloride9.45 x 11.81 x 11.81 in/24 x 30 x 30 cm

MFu 1

Michiko FukaiPoint of Contact II, 2009

Stainless steel, rattan, vinyl chloride5.12 x 8.27 x 11.81 in/13 x 21 x 30 cm

MFu 2

Michiko FukaiAn After Image I, 2007Rattan, vinyl chloride

7.87 x 7.48 x 9.45 in/20 x 19 x 24 cmMFu 3

Michiko FukaiAn After Image II, 2010

Rattan9.84 x 10.24 x 9.84 in/25 x 26 x 25 cm

MFu 4

Yasuko HoshinoBeach, 2009Paper band

5.91 x 7.87 x 9.84 in/15 x 20 x 25 cmYHo 1

Yasuko HoshinoSituation, 1997

Paper 15.75 in/40 cm

YHo 2

Yasuko HoshinoLateness, 2009

paperband11x 9x 12.5 in/28 x 23 x 32 cm

YHo 3

Yasuko HoshinoTide, 2009Paperband

10.25 x 15 x 10.5 in/26 x 38 x 27 cmYHo 4

Sachiko ItabashiTsubomi No. III, 2009

Crystal vinyl seat, thread fold, knot7.09 x 7.09 x 4.33 in/18 x 18 x 11 cm

SIt 1

Sachiko ItabashiTsubomi No. V, 2009


SIt 2

Sachiko ItabashiTsubomi, No. VI, 2010


SIt 3

Sachiko ItabashiTsubomi, 2007

Crystal vinyl seat, thread7.87 x 19.69 x 7.87 in/20 x 50 x 20 cm

SIt 4

Ritsuko JinnouchiOff the Point #14, 2008

Cane, Wild vine9.06 x 5.51 in/23 x 14 cm

RJi 1

Ritsuko JinnouchiEffect of Holes #24, 2010

Plaiting and Melting Polypropylene tape11.81 in/30 cm

RJi 2

Ritsuko JinnouchiBottoms and Spaces 1 #33, 2011

Cane dyed with natural Kibushi tree13.75 x 12 x 13.75 in/35 x 30 x 35 cm

RJi 5

Ritsuko Jinnouchi6+1, 6-1 2nd #37, 2012

Bamboo, cotton thread (beeswax)15 x 9 x 13 in/38 x 23 x 33 cm

RJi 6

Mieko KawaseWind, 2011

Wire, branch, washi, paper yarn4.5 x 9.5 x 4.5 in/11.4 x 24.1 x 11.4 cm

MKe 1

Mieko KawaseOrange Light, 2011

Wire3.75 x 4 x 3.25 in/9.5 x 10.2 x 8.3 cm

MKe 3

Mieko KawaseAir Basket, 2012

Wire4.33 x 6.69 x 6.69 in/11 x 17 x 17 cm

MKe 5

Mieko KawaseGreen Light, 2012

Wire3.94 x 5.91 x 5.91 in/10 x 15 x 15 cm

MKe 6

Yukari KikuchiLine, 2006

Pinus, kazinoki5.5 x 10 x 10 in/14 x 25 x 25 cm

YKi 1

Yukari KikuchiRoll Up, 2004

Amur cork tree6 x 8 x 8 in/15 x 20 x 20 cm

YKi 2

Yukari KikuchiWoods, 2008

Walnut, willow, Amur cork tree, Redvein maple, Crimson Glory Vine6 x 12x 12 in/15 x 30 x 30 cm

YKi 3

Shigeru MatsuyamaHeaps #8, 2006

Leather, tieband, pierced coiling7.09 x 10.24 x 10.24 in/18 x 26 x 26 cm

SMt 1



SMt 2

Shigeru MatsuyamaNest, 1999

Leather, leather thong, pierced coiling6.69 x 13.78 x 13.78 in/17 x 35 x 35 cm

SMt 3



SMt 4

Akiko MioKagokarakagoka, 2009

Plastic, wire9.84 x 9.84 x 3.94 in/25 x 25 x 10 cm

AkM 1

Akiko MioSeed of Oryza Sativa, 2010

Plastic, wire15.75 x 9.84 x 3.94 in/40 x 25 x 10 cm

AkM 2

Hiroko OkunoThe Challenge of Materials 1

Akebi-vine, cherry tree bark, kokuwa17.72 x 17.72 x 17.72 in/45 x 45 x 45 cm

HOk 1


Akebi vine, cherry tree bark and branch, Kozo bark13.75 x 23 x 10 in/35 x 58 x 25 cm

HOk 2


Akebi vine, cherry tree branch, Kozo bark, wool28 x 8 x 9 in/71.1 x 20.3 x 22.9 cm

HOk 3

Chizu SekiguchiSeed Basket, 2008

Windmill palm9.06 x 5.91 x 13.39 in/23 x 15 x 34 cm

ChS 1

Chizu SekiguchiWindmill Palm Coral, 2008

Windmill Palm13.39 x 8.66 x 8.66 in/34 x 22 x 22 cm

ChS 2

Chizu SekiguchiFlow, 2012

Windmill palm11.81 x 7.09 x 17.72 in/30 x 18 x 45 cm

ChS 5

Chizu SekiguchiNet Shell, 2012Windmill palm

10.63 x 7.48 x 9.45 in/27 x 19 x 24 cmChS 6

Chizu SekiguchiPattern of Hexagon, 2011

Windmill palm9.45 x 9.45 x 9 in/24 x 24 x 23 cm

ChS 8

Chizu SekiguchiSea Anemone, 2012

Windmill palm6.3 x 6.75 x 10 in/16 x 17 x 25 cm

ChS 9

Shizuko TakahashiWriggleHemp

4.25 x 10.75 x 16.5 in/11 x 27 x 42 cmSTa 1

Shizuko TakahashiUntitledHinoki

9 x 5.5 x 2.375 in/23 x 14 x 6 cmSTa 2

Shizuko TakahashiSphere

Chinese Moonseed4.5 x 4.5 x 4.5 in/11 x 11 x 11 cm

STa 3

Mayumi TsukudaIn and Out, 2009

Paper, paper cord, wax linen, nylon thread13.78 x 16.93 x 13.78 in/35 x 43 x 35 cm

MTk 1

Mayumi TsukudaWrap, 2005

Nito vine, paper cord, wax linen16.93 x 16.93 x 15.75 in/43 x 43 x 40 cm

MTk 2

Mayumi TsukudaNature Dancing, 2006

Korean paper, kimono fabric, rattan, bamboo, nuts, Juzu beads9.84 x 9.84 x 11.42 in/25 x 25 x 29 cm

MTk 3

Mayumi TsukudaArt-graphy, 2011

Bamboo, paper, persimmon tannin9.06 x 7.09 x 7.09 in/23 x 18 x 18 cm

MTk 4

Mayumi TsukudaSpiral Spine, 2012

Korean paper, paper thread, beads, wax linen, rattan6 x 6 x 42.5 in/15 x 15 x 108 cm

MTk 5

Mayumi TsukudaNested Basket, 2012

Yew4 x 10.25 x 10.25 in/11 x 26 x 26 cm

MTk 6

Nobuko UedaSwinging Steel I, 2009

Stainless steel8 x 10 x 10 in/20 x 25 x 25 cm

NUe 2

Nobuko UedaSwinging Steel II, 2010

Stainless steel11 x 11 x 11 in/28 x 28 x 28 cm

NUe 3

Emiko YoshiyaLotus #12 - Sazanami Series, 2012

Basho (Japanese Banana fiber), Trachycarpus, 10 x 8 x 8 in/25.4 x 20.3 x 20.3 cm

EYo 1

Emiko YoshiyaLotus #11 - Sazanami Series, 2011-2012

Basho (Japanese Banana fiber)2.5 x 12 x 12 in/6.4 x 30.5 x 30.5 cm

EYo 2

Emiko YoshiyaClear #10 - Sazanami Series, 2010

Polypropylene packing tape12 x 8 x 8 in/30.5 x 20.3 x 20.3 cm

EYo 3

Emiko YoshiyaGear #9 - Sazanami Series, 2010

Akebi (Chocolate vine), Otsuzurafuji (Sinomenium acutum), Hemp yarn dyed with persimmon juice5.5 x 17.5 x 14 in/14 x 44.5 x 35.6 cm

EYo 4

Artist BiogrAphy

Michiko Fukai

Michiko Fukai first began to pursue basketry on a professional level in 1987. Since then, she has participated in Japan’s National Basketry Exhibition, “In Our Hands” International Competition in Nagoya, Haya Design Competition in Kagosima, and the Korea-Japan Basketry Exchange Exhibition in Korea. Additionally, she has shown her creations in Gallery Space 21, ARTBOX, Senbikiya, Gallery M2, and Okariya in Tokyo.

Of her work, Fukai states:

“It is fascinating for me to think of some imaginable move or form and to try to express it into some concrete shapes after repeated trial and error. In a world of uniquely fluctuating materials, there are many unexpected routes and possibilities that can take shape. Unlike producing forms which are predetermined, the elusive nature of the material may result in fascinating products beyond my intended anticipation.”

Yasuko hoshino

Yasuko Hoshino got her start in Japan’s 6th Annual Basketry Exhibition in 1991, and has continued to exhibit her baskets there and elsewhere ever since. Other participation includes the “In Our Hands” International Competition in Nagoya, the Annual Basketry Invitational in Michigan, and exhibits at the Reed Gallery in St. Louis, Crafts Museum and Gallery in Portland, and the Contemporary Tapestry Museum France.

Of her work, Hoshino states:

“Presuming the point of baskets is the circulation of air… I wrestle with basketry. I draw water in baskets, day in and out.”

sachiko itabashi

Sachiko Itabashi began creating baskets in 1980, and has continued to find success ever since. In 2000, she first began to show her creations at Japan’s Annual Basketry Exhibition, and has also gone on to compete in the Japan/Korea Cultural Interchange Exhibition in Seoul.

Among other things Sachiko’s work is especially set apart by the interesting materials she uses to weave her forms. At present, her preferred tools for weaving are crystal vinyl tubes with colored yarn sewn inside. The vinyl is woven together, and from there the brightly-hued string snakes through and seems to float in a chain throughout the interior.

Ritsuko Jinnouchi

Ritsuko Jinnouchi’s work explores her desire to create mass with uneven surface texture. Using miniscule, repetitive patterning, Jinnouchi’s baskets begin to unfold with almost scientific precision, almost resembling at times a cellular structure. To achieve these effects, Jinnouchi uses plaiting, tying and braiding to construct hexagonal configurations from paper, cord, bark, bamboo or cane.

“My baskets are made by lots of small structures. The structures are all the same. If I change one of them the whole form will change. I am surprised and pleased by this effect.”

Mieko kawase

Mieko Kawase first began creating baskets on a professional level in 1993, at the “In Our Hands” National Basketry Competition. Since then, she has appeared regularly in various shows and basketry competitions, including multiple years in Japan’s Annual Basketry Exhibition, the Korea-Japan Basketry Exchange Exhibition, and a solo exhibition in Aichi Tougou, Japan. Most recently, Kawase has taken to experimenting with Japanese paper as a basket-making material. In her work, Kawase chooses to focus on creating with simplicity, letting flowing, twisting curves spread out organically from her forms.

YukaRi kikuchi

Yukari Kikuchi first honed her art towards basketry in 2002, when she trained under Noriko Takamiya in Tokyo for two years. Once she was able to grasp the traditional concepts of the art under such tutelage, then she began the path towards making that art her own. Over time, Yukari Kikuchi has developed a very distinct style in her woven sculpture, playing with layering and division of fibers, exploring the concept of unity amongst many miniscule pieces and threads. She focuses on using natural material, which finds in her environment. She tries to find a form that best utilizes each material. Since her introduction into this art form in 2004 she has participated in various exhibitions through out Japan, and now New York City.

shigeRu MatsuYaMa

Shigeru Matsuyama has been embroiled in the world of basketry for over thirty years. In his process of weaving his creations, Matsuyama prefers to use remnants and found materials—often, he will sift through garbage cans to find the materials he needs. Leftover clothes, scraps of leather, metal shreds and plastic parts all find their way into his creations, winding together to create fully fleshed-out, three-dimensional forms. Matsuyama’s works have been shown at various exhibitions, including galleries in Tokyo, Osaka, Seoul, Wales, The Netherlands, and New York City.

akiko Mio

Akiko Mio graduated from Kanazawa University, and very shortly afterwards became found herself drawn to the world of basketry. Like many of her contemporaries, Akiko Mio began to quickly push the bounds of what could traditionally be called “basketry” and was soon using shapes and materials unheard of in more formal styles. The result is a myriad of delicate, almost jewel-like creations, delicately woven together with wire, plastic, and other synthetic fiber. Her creations have been shown in both solo and group exhibitions internationally—among her more noteworthy accomplishments, Akiko Mio has for nearly twenty years in the Fiber Work Exhibition, and has also been honored multiple times at the 2005, 2007, and 2009 Japanese Basketry Exhibition.

hiRoko okuno

Hiroko Okuno was born in Osaka in 1957 and joined the workshop of Hisako Sekijima in 1981. Taking time to come into her own as an artist and understand her creative identity, she waited until 1987 to begin exhibiting her works in Japan’s National Basketry exhibitions. Since then she has regularly participated in Japanese national exhibitions as well as the Korea-Japan Basketry Exchange.

Of her work, Okuno states:

“With the vital energies of natural material, the figures of basketwork can reveal countless facets. I believe that direct weaving or plaiting of the raw material is the simplest and most familiar way for us to turn our own nature into figurative art. I hope that I can with clear expression convey my emotional and mental state in such a way with my art.”

chizu sekiguchi

Chizu Sekiguchi has been honing her art of basketry since 1986, when she attended Hisako Sekijima basketry class for its year-long duration. She uses palm leaves as her primary materials, both Windmill palm and Kudzu. Every leave is treated as its own entity and its own characteristic form, which eventually informs the shape that the basket will take. As her creations progress, multiple leaves wind together as one, assembling themselves into beautifully complex, tangled shapes.

As her art has progressed, Chizu has accumulated many honors and awards along the way; she has had exhibitions at the Senbikiya Gallery in Tokyo, and solo shows in Atami, Shizuoka Prefecture. She was an attendee at John McQueen’s workshop in 1997, was a finalist in the “In Our Hands” International Competition in Nagaoka, and was awarded the prize of Special Selected Work at the Second Annual Cheonngju International Craft Competition in Korea.

shizuko takahashi

Shizuko Takahashi first took an interest in the basket world in 1985 when she began studying woven sculpture under the tutelage of Hisako Sekijima, where she honed her artistic voice. Shizuko Takahashi’s baskets play with tension: tension of the materials used, tension of the weave, and what the overall effect this dynamic has on the end shape of the object. In 1987, she felt enough of a creative identity to begin competing and exhibiting in shows. Since then, she has enjoyed much success, showing her pieces at an international level. Most recently, she exhibited her work at the Japan/Korea Basket Show in Kanazawa. Currently she resides in Kanagawa, perfecting her artwork and experimenting with new designs.

MaYuMi tsukuda

Artist’s StatementTwenty eight years ago, I moved to the woods outside of Gifu Prefecture, Japan and founded a craft community, “Oak Village” with my friends. It was created with the goal of establishing a self-sufficient community focused on making local crafts as well as communing with nature.

Along with my husband, I started a woodworking school that was the first school in Japan to emphasize forestry and environmental education in its curriculum. My basketry changed dramatically after a walk through the woods. My work greatly utilizes and reflects nature. I teach the craft of basket weaving at Shinrin Takumi Juku and Shinrin Bunka Academy.

nobuko ueda

Nobuko Ueda’s pieces show a unique mixture of faultless structure with a playfulness of tone that makes her woven sculptures especially distinct from the rest of the art world. The weave and the balance of her creations is especially subtle and strategic—at first the pieces seem especially loose and malleable, but the intricacy of the weave and the detail put into the weight and tension of the work begins to come for the longer one experiences her art. This hidden skill of Ueda’s has been perfected over a long career in the world of basketry—most recently, she has been honored to be shown at Miniartextil Como in 2008 (Italy), the 48th Annual Japan Crafts exhibition I 2009, the Japan Jewelry Art Exhibition in 2010, the 74th Exhibition of Sinseisaku, the 2011 Japan/Korea Art Exchange Exhibition, the 2011 and 2012 “Scythia” show of Textile Art in the Ukraine, and New York’s SOFA Exhibition in 2012.

eMiko YoshiYa Emiko Yoshiya has had a long and established career in the basketry world. She began exhibiting in shows in 1985, starting out with more classical art forms, specifically the traditional Japanese art of weaving and dyeing textiles. In 1987, however, she took a workshop in basketry, and began studying under the tutelage of Hisako Sekijima, and has since been fascinated by the experimentation of contemporary woven forms. She now participates annually in the Japanese Basketry Exhibition, and has branched out to exhibit her works in shows in Milan and in the Japan/Korea Joint Arts Exhibition. Currently, she works as the Arts and Crafts Instructor at Taihei Gakain in Osaka.

Uncontained Excitement: Woven Sculpture From Japan

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