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mariko kusumoto sculpure

Mariko Kusumoto: the preciousness of textile art

Mariko Kusumoto, an eclectic Japanese living in Massachusetts, has started her artistic life working with metal. She used to create complex, thus minute sceneries, using the heat to shape copper and bronze to her fantasy. Then she decided to experiment for her art something completely different, almost opposite.

Where strength was required to shape the metal masterpieces giving neat and unmistakable results, textile represents an innovative, light almost evanescent alternative: a new challenge.

Based on the antique Kanzashi tradition where the Japanese women use to arrange wonderful hairstyles, Kasumoto started to elaborate silk and acrylic yarns, transforming them in brilliant jewels, transparent cases of small wonders, kaleidoscopic landscapes of jellyfishes and sea anemones; true sculptures to be wearing and to make a dress precious.

Accessories and piece of arts, which seem to arise from the deepness of the oceans. Masterpieces in front of which arises a sense of childish wonder, as if the artist would have given shape to our most intimate dreams taken us into a world of levity were everything is possible.

We are fascinated by Mariko Kusumoto art, as it is pure emotion. It is the spreading wings of the creative process, even more magnified by the lightness of the material used. Silk, yarns and above all polyester that, robust thus delicate, it is perfect for the modelling process.

Fascinated by the beauty of nature and the Japanese culture, the artist affirms that she is inspired by anything that attracts her. Through her elaboration process, she donates a new evanescent life, being a seascape or a contemporary horror film.

Mariko Kusumoto works are placed in important public and private collections; her works have won many important awards such as the Niche Awards, The Grant, Massachusetts Cultural Council and the Juror’s Awards, Craft Forms 2015.

They are actually on exposition at the Mobilia Gallery – Cambridge.

ART AND FABRIC: PAOLA ANZICHE’

TEXTILE ARCHITECTURE, WOOL, SOIL, JUTE AND OTHER STORIES

Paola Anziché Paola Anziché has always been experimenting and expressing through weaving and knitting. A creation focusing on materials, with the pleasure of lingering on a shape and make it appear.

The architectural breath of their works strongly arises in her using weaving to create closed, cosy and intimate spaces, paying homage to the theory stating that the origin of architecture coincides with the beginning of weaving. Almost to demonstrate that weaving is a technique born to create spaces rather than to dress bodies.

This is how Paola describes her work:

“I simply use a matter –fibre- and I work it, so as to test it. I cultivate the doubt: I don’t know how it will end up. I hardly ever decide in advance the final result.”
“I have always been thinking that unplanned circumstances have a great role and that, generally, chance ‘open’ and help developing the work. The fact of not exactly know what I will create and which the final result will be, helps in creating new potentialities, because the artwork itself is offered to whom admire it (or touch it and move it), open to any possibilities of being developed even by others. In the “braids” case – works made with cloth – shapes arise alone, without me wanting expressively to create handbaskets. These shapes are rather the result of the impossibility of braid and twist together these materials. This limit produced the final shape.”
Materials excite me. My approach starts from there, when I find materials I like, the first thing I do is try to work them and see how materials react and what result comes to life. I like saying that ‘seeing with hands’ is the expression which best describes my work.

Here the full interview to the artist

PAOLA ANZICHE’ lives and works in Turin and Milan. In April, during the MIlan XXII Triennale International Exhibition, her works will be shown at the exhibition “21st Century. Design After design”. In 2017 she will show at Turner Contemporary curated by Karen Wright, Margate, United Kingdom.

Photo courtesy of Paola Anziché