Emerging-6 39x49cm  Painting and inkjet printing on cotton and Japanese paper  2020

While the pandemic of COVID-19 is still spreading around the world, CAFA ART INFO decided to hold an online exhibition themed on “Reflecting the Sharing Moment” which has instantly connected artists thousands of miles away from each other. This is an interesting, warm and beautiful event.

The advent of the pandemic reminded me of the artistic activities that I have embarked on from when I was young. All I wanted to express were questions about eternity and I also tried to pursue the theme of eternity through artistic expressions.

Emerging-3 39x49cm  Painting and inkjet printing on cotton and Japanese paper  2020

Emerging-2 39x49cm  Painting and inkjet printing on cotton and Japanese paper  2020

I often use the all-encompassing ancient principle of mutual generation and mutual restraint to express my creation. The profound thinking represented by this relation has had a significant impact on me. The outbreak of the pandemic in 2020 might remind us of the need to confront in a more humble way with the environment and groups. In this way, this period may become a more positive milestone on the road of human symbiosis.

For me who has engaged in art and design, the boundary between art and design is not so clear. From the perspective of life, whether it is natural or man-made, I have held the same attitude towards everything that is produced. I also often think about why I finally use fiber materials for creation. The charm of fiber materials attracts me as much as the creation of paintings out of a pure motive. I always look forward to one day becoming a presenter who is not bound by a certain field. 

Emerging-5 39x49cm  Painting and inkjet printing on cotton and Japanese paper  2020Emerging-1 39x49cm  Painting and inkjet printing on cotton and Japanese paper  2020

The materials of works are different and the environment of their existence is different, the form and time are entangled, thus they will eventually change and deteriorate and in the end disappear. Works drawn or produced will equally experience the process of extinction. My creative focus has gradually shifted to a way of expression that changes with time—circulation. My work at the Hamamatsu Field Art Exhibition in 1984 was the first step towards this idea, which also solved my previous questions a little bit. At that time, the sewn Sindhu kapok cloth was used, combined with the sand dunes on the seashore and burned with fire. The carbonized kapok finally returned to the atmosphere. The phenomena and power I experienced on the beach are still fresh in my memory. Like a child, I communicated with the earth through games. In the future, I will choose the venue based on the difference between outdoor and indoor, and combine art and design to express my ideas.

 Emerging 2  27x22cm  Painting and inkjet printing on cotton and Japanese paper  2020Tableau？ Brooch？ I trust to your sensitivity   150x160cm Inkjet printing on cotton and Japanese paper

When confronted with a piece of white cloth and thread to produce results (works) through the intervention of the subject of consciousness, I am especially concerned about sharing it with time. Because in the process, I will encounter uncertain accidents at that time. This state of being immersed in unpredictable anxiety, fun and determination and the elements that just appear to be homogenous with ideas makes me fascinated. At that time, I strongly felt an extreme and uncontrollable existence of elements. The result is that when I create, I will naturally accept the invisible power brought about by accidents. Then I expand and extend the stimulation brought by the five senses to the plane, three-dimensional space, the process makes me continue to try to include the comprehensive expression of language, form and body.

VANISHING&EMERGING  789x203cm  Painting and inkjet printing on cotton and Japanese paper

Our pursuit of wealth has consumed too much energy. The COVID-19 is only one part of it. The pandemic is a reminder that human beings are carrying huge risks. We can only accept it frankly with the concept of coexistence and symbiosis. In today’s society, mankind can only use wisdom and knowledge to work hard with the dream of “efforts”, I think this should be overcome! At this moment, it reminds me of what Mr. Kawabata Yasunari said to me when I just became a teacher: Mr. Tanaka, just pay close attention to your students!

GARDEN& GARDEN  150x164cm  Inkjet printing on cotton and Japanese paper

Now, what I want to show is rebirth, I keep looking for points that disappear and points that move. My creation is similar to farm work, which is to show the intention of the work through repeated work. Every time it seems to be creating a little poem, happiness is beyond my words!

Hideho Tanaka

Born in 1942 in Chiba-ken, Japan

Professor and Former Director and Doctoral Supervisor of Fiber Art in Crafts and Industry Design Department in Tokyo Musashino Art University, and Fiber Art Teaching and Research Section of Graduate School of Fine Arts, Director of Japan Fiber Art and Dyeing Association, (Legal Representative of Financial Institution) Member of Japan Craft Design Committee and Member of Japan Modern Jewelry Design Review Committee, etc.

Mr. Hideho Tanaka is a famous Japanese fiber artist. In his youth, he experienced a period of vigorous development of Japanese modern art, which has had a very important influence on his artistic path. In his early years, he studied modern art in the United States, and has traveled to various countries. He drew nourishment from traditional dyeing and weaving techniques and modern fiber art around the world, which has a profound influence on his personal artistic creations and teaching. His creations focus on the discussion of the relationship among man, nature and society, and he focuses on thinking about the universe, mankind, environment and other propositions such as circulation, movement, disappearance, rebirth, reconstruction, accident, inevitability, unpredictability. Meanwhile, topics such as repetition, among others, are always his concern. His artistic trend has evolved from focusing on Western art in his youth, and later re-examining Japanese modern art. He gradually established a foothold in the East, infiltrating the unique Japanese cultural genes such as “l(fā)oneliness”, “wabi”, “secluded”, and “xuan” into his artistic creations. At the same time, he is fascinated by the ancient principles that everything restrains through each other, as well as the ancient Chinese Lao Zhuang’s thought (Taoism). He is a Japanese artist who combines Eastern and Western aesthetic concepts with expressions to form a unique artistic style. He is a senior figure in the fiber art world in Japan today, and is also a well-known art educator, theorist and art curator. He has written more than forty essays and monographs.

Since the beginning of the 1970s, he has held more than 40 solo exhibitions in Japan and abroad and participated in more than 150 exhibitions around the world. Among the famous are the Hamamatsu Open-air Exhibition in Japan, The Lausanne International Tapestry Biennials in Switzerland, the International Wall Hanging Exhibition, Armory Show in the U.S., ANNUAL BASKETRY in the U.S., MINI-TEXTILE INTERNATIONAL CONTEMPORARI ART EXHIBITION in Spain, MINITEXTIL COMO in Italy, Japanese & Korea Contemporary Fiber Art, etc. The most famous exhibitions curated by him are TODAY' S ART TEXTILE, and TODAY' S ART TEXTILE Touring Exhibition in Japan. His works are collected by art museums, museums and galleries in Japan, the United States, France, Australia, Switzerland, the Netherlands, Denmark, Hungary, South Korea, Mexico, the Philippines and so on. 

Image and Text Courtesy of the Artist.

Translated and Edited by Sue and Emily/CAFA ART INFO