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In Dialog With: Asana Fujikawa

Asana Fujikawa loves telling tales. From erotically-charged ceramics to fantastical etchings, the Hamburg-based artist’s work is infused with fairytale logic, each bit elaborating on a mythology she spins throughout time and media.  

After exhibiting her first solo present at Klaus Gerrit Friese Gallery in Berlin late final yr, Fujikawa is taking time to find a brand new rhythm for her follow. I caught up together with her to debate folklore, Henri Matisse and clay communions.

In Conversation With: Asana Fujikawa

What impressed you to pursue a creative profession?

While I used to be making artwork I met many individuals who impressed me. I needed to proceed to work with them, which led me to pursue a creative profession.

Your œuvre encompasses a broad vary of media, from etchings and work to sculpture and efficiency artwork. Are you able to inform us about your evolution by these completely different practices? How do you resolve which materials is one of the best mode of expression in your concepts?

First I attempted to be painter. I beloved the works of Henri Matisse and I needed to color like him, but it surely was very tough. I felt that the paint and I couldn’t perceive one another. After a number of years, I experimented with etching, and I not wanted the fabric to inform me what I needed to say. It was a joyful second. I had the same expertise with ceramics. I really feel as if I can discuss with clay, particularly at evening in my studio.

In Conversation With: Asana Fujikawa
Auf dem Wasser musst du ständig aufpassen, dass du regelmäßig atmest

This yr you hosted your ?rst solo exhibition, Einmal ?elen weiße Tropfen aus deiner Brustwarze auf meinen Stöckelschuh, weißt du noch? (As soon as white drops fell out of your nipple onto my excessive heel, do you continue to keep in mind?) at Galerie Klaus Gerrit Friese. Are you able to inform us in regards to the present?

Klaus Gerrit Friese Gallery is in Scharlottenburg in Berlin. I loved making the present with a Gallery in such a historic metropolis! I confirmed my ceramic ?gures from the previous 5 years. They’re primarily based on a number of tales which I created. The principle themes are household, love and transience.

Your sculptures have a kind of narrative high quality, like they’re characters stumbled upon in media res. What’s the story of Ein Waldmensch, der mit einer Schnecke zusammen lebt and even Auf dem wasser musst du ständig aufpassen, dass du regelmäßig atmest?

The ?gure Waldmensch is making an attempt to chop off his arm in horror. It’s coated with rising crops, and he needs to cease the metamorphosis. The ?gure is a part of a narrative, Metamorphose. On this story, there’s a magic forest the place toxic yews develop. A change takes place when one enters the forest: timber develop from one’s arms or physique and one not seems to be like a human being. The forest individuals, Waldmensch, had such an issue. They was once forest staff and wore orange overalls. They grew very afraid when the transformation started, and tried to protect their human souls by creating containers from forest earth to retailer them in, earlier than the employees turned utterly into wooden. Two ladies additionally go to the forest, however they get pleasure from the metamorphosis. A Japanese deity dwelling within the forest observes and sings, however doesn’t intervene within the motion. 

In Conversation With: Asana Fujikawa
Ein Waldmensch versucht, wa?hrend seiner Metamorphose seinen Arm abzuschneiden
In Conversation With: Asana Fujikawa

How would you describe the in?uence of folklore in your artwork?

From a younger age I beloved to learn folktales and myths from around the globe. I grew up in a small Japanese city, which is surrounded by mountains filled with D?sojin. D?sojin are stones that are worshiped as tutelary deities. They’re simply stones, however after I stand in entrance of them and shut my eyes for 10 seconds, I expertise a brief meditation. You’ll ?nd many such locations in Japan. This expertise helps me to put a basis for a way I talk with supplies, particularly clay. Once I meditate on how the ?gure ought to look, I attempt to discuss with the clay in my fingers. This communion is similar as with the D?sojin.   

Along with making your individual artwork, you’re a resident of the Künstlerhaus Vorwerkstift in Hamburg, and head of its gallery group. How do you assume being a part of this artistic neighborhood has formed your follow?

One of many causes I got here to Germany from Japan 12 years in the past, was the chance to guide a creative way of life in Europe. I lived within the artist-house Vorwerkstift in Hamburg for 5 years, and I met many younger artists who had been sympathetic and bold, critical about their lives. That was an amazing expertise for me. 

What are you engaged on proper now?

I’ve had a number of reveals within the final 4 years, however now I need to loosen up and ?nd a brand new rhythm for my life as an artist. That’s what I’m engaged on now.

In Conversation With: Asana Fujikawa
In Conversation With: Asana Fujikawa
In Conversation With: Asana Fujikawa
Medusa mit ihrem Type
In Conversation With: Asana Fujikawa
Mach deine Lippen rot, bevor es regnet




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