Friday, September 28, 2012
Thursday, September 27, 2012
Tuesday, May 8, 2012
Monday, May 7, 2012
White Bird Parabola
Mixed Media Installation
I identify myself as a sojourner, a person who stays in a place temporarily. A sojourner is like a traveler who moves from one place to another without a place to settle down. It resembles a white bird flying in the air. When you look at a white bird flying, it stands out in its surrounding landscape of different colors. In the Japanese language, we often express this kind of scene metaphorically as “The white bird looks like it never gets dyed by any colors of the surrounding landscape”. This expression of “never getting dyed by other colors” is also used idiomatically to express people’s condition of not getting adjusted to or not being influenced by the environment. A sojourner is like an isolated white bird flying, without getting dyed by other colors.
With this particular installation art piece, I expressed this feeling of a sojourner like a white bird. The component with multiple “white feather balls” creating a parabola-like shape in the air represents the locus of the journey of a white bird. Each ball is a separate point, but they are creating one line together. Because its shape also looks like an “infinity” symbol, this journey can be read as an endless ongoing matter.
I placed one chair underneath the parabola structure to create an introspective image as a whole. Also, the chair represents a place to rest. By scattering feathers and feather balls on the chair and the floor, I expressed my spiritual journey in frequenting this place to rest.
The sojourner travels just like an isolated white bird flying endlessly. Is the white bird sad? To me, it looks like flying with strength and nobility. The white bird continues to fly in the air with dynamic movement and constant rhythm.
Posted by Chiyoko Myose at 8:35 PM
Mixed Media Installation
The installation plastic rain is part of a series of pieces that deal with the interface between “nature and machine”. The dripping water and the sound of the drips represents the “natural” rain drops. All of the rest of the piece represents the “man-made machine”. The fake grass/astro-turf carpet with aluminum foil pie pans is the “machine man-made” lawn/fields and ponds. The neon yellow string and zip ties holding up the the black hydroponic tubing is the “machine” sky, and the black tubing is the “machine” rain clouds. The black garden hose and manifold valve is a part of the rain cloud “machine” too. The flexible plastic arms that move when drops of water hit them represent the energy that man extracts from natural sources to make our machines work. The aluminum foil covered ladder is the access for maintenance on the man-made rain clouds. As in our culture the components of the “machine” portion of the installation tend to overshadow the “natural” water drops, but the sound component of the drips and our emotional response to that sound brings the piece back into a healthy balance between “natural” and “machine”. Which is the metaphor of this piece; if we wish to have a healthy culture we need to keep the “natural and the machine" in balance.
Sunday, May 6, 2012
Mix Media installation
The installation piece was in relation to my painting and drawing practice which focus on a psychological response to biomechanics. However, the piece draws toward the organic aspect. I wanted to make a piece that alludes creation or growth and interacts with its surroundings. The abstract entity fractures physical space creating a variety of perspectives for the viewer to engage in. The installation layout was dependent on its location within the gallery. I titled the work Framework 36 because it could be essentially a framework to anything. Although the piece is ambiguous it provides room for the viewer to develop some type of psychological relation and therefore making the viewer part of the works manifestation.
Thursday, May 3, 2012
Wednesday, May 2, 2012
Tuesday, April 24, 2012
Thursday, April 12, 2012
Mixed Media Installation
by Chiyoko Myose
My work expresses my personal feelings and experiences as a sojourner and my spiritual journey in search of a place to fully call home. As a sojourner, I have a physical place where I live, but simultaneously, my mind goes to the places where I used to live. This experience makes me explore various aspects of a sojourner’s life such as place, memory, imagining, cultural displacement, and spiritual journey.
Right now, it is the season of the cherry blossom in my original country of
Japan. I imagine they are blooming beautifully now, as always. At the same time, I am concerned that the land and the people who are living there have been going through mourning and struggles after the earthquake and tsunami disaster and the nuclear accident from a year ago.
The image of this particular installation art piece was inspired by my memory of viewing the cherry blossoms and a shoji window, a Japanese paper sliding window. The petals fall off and form other flowers in another place. Together with the light, shadow, mirrors, and reflection of the mirrors, I expressed my thoughts and prayers for my original country and the people there.
The title of this piece, ‘Hisakatano’ is from a waka, a short poem, by Kino Tomonori from the 9th century. The word Hisakatano itself does not have a meaning, but it is a word that goes with the word ‘the light’. The poem goes like this:
Hisakatano hikarinodokeki harunohini
ひさかたの 光のどけき 春の日に
It translates to:
On such a light tranquil spring day,
See some more images here. http://chiyokomyose.com/section/298717_Hisakatano_Installation_3.html
Posted by Chiyoko Myose at 12:43 PM
Pills and Wine in Moma’s Stomach
This video deals with my mom’s tendencies to overdose on drugs and how her addiction has killed her over time. This video portrays pills and wine going into my mother’s stomach and her heartbeat throughout time, which slows down until it finally ceases(demonstrating her demise). The video switches back and forth between the pills and my mom throughout time as she is getting older.
Wednesday, April 11, 2012
This is a transcendent piece. I struggled mightily with the problem solving. In the end I chose the simplest solution and was happy with it. Normally, I come up with general ideas and leave plenty of room for improvisation and growth. This was the first time I had the pressure of artmaking for a specific show. I probably could have done with less indeterminacy and more planning in advance. Still, as stated, I'm happy with the result. As for the piece itself, I had general ideas there too. At various times in the planning process, I wanted crossing through the portal to bring a specific change, a specific feeling, a subtle non-determined change, or be purely aesthetic. Because of the limitations of reality and technology, I had to settle on an implied change. This kind of ambiguity worked, and I'm pleased that the viewer is allowed to fill in the details of the experience. As for my intentions, I believe in the idea that our thinking and feelings affect and change matter. So my working with the materials of the piece imbued meaning directly into them, and more specifically, my own meanings. These are felt although not directly apprehended by viewers. I realize this kind of meaning isn't approved of or understood by academia, but so much the better.