22.04.2020 Views

Shifts in Japanese Materiality

11 July – 31 August 2019 Bic Tieu | Guy Keulemans | Julie Bartholomew | Kyoko Hashimoto | Liam Mugavin | Rui Kikuchi | Yusuke Takemura This group exhibition of contemporary design practice considers the changing nature of materiality in Japanese object-making culture. Through the work of experimental Japanese and Australian designers, Shifts in Japanese Materiality highlights the porosity of Japanese design and craft processes in a contemporary context.

11 July – 31 August 2019

Bic Tieu | Guy Keulemans | Julie Bartholomew | Kyoko Hashimoto | Liam Mugavin | Rui Kikuchi | Yusuke Takemura


This group exhibition of contemporary design practice considers the changing nature of materiality in Japanese object-making culture. Through the work of experimental Japanese and Australian designers, Shifts in Japanese Materiality highlights the porosity of Japanese design and craft processes in a contemporary context.

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stage. Before that, the pellets or<br />

chemical feedstock likely came from<br />

Japan, though perhaps Germany or<br />

elsewhere. And before that, the fossil<br />

fuel raw material could be Middle<br />

Eastern crude oil or gas from the North<br />

Sea. Or gas from Australia, as Japan is<br />

Australia’s biggest buyer.<br />

Kyoko Hashimoto<br />

Artist Statement<br />

Japan, as an island nation, had a<br />

natural limit to its resources. Now,<br />

<strong>in</strong> the global economy, Japan is the<br />

biggest importer of natural gas and the<br />

second largest importer of crude oil.<br />

Both are used to produce goods made<br />

from synthetic plastics, of which Japan<br />

is the world’s eighth largest exporter.<br />

This rank<strong>in</strong>g might not <strong>in</strong>clude the<br />

export of petrochemical feedstock,<br />

the raw chemicals used to make plastic<br />

pellets, or the pellets themselves.<br />

Due to account<strong>in</strong>g and term<strong>in</strong>ology<br />

complexities of global trade, it’s hard<br />

to know.<br />

Given the significance of global<br />

material flows and their dom<strong>in</strong>ance<br />

over traditional craft materials <strong>in</strong> both<br />

volume and economic value, I question<br />

whether I can mean<strong>in</strong>gfully def<strong>in</strong>e<br />

‘<strong>Japanese</strong> materiality’ <strong>in</strong> contemporary<br />

terms.<br />

Nenju are the <strong>Japanese</strong> form of<br />

Buddhist prayer beads. Traditionally<br />

made from wood or stone, the soft<br />

gr<strong>in</strong>d<strong>in</strong>g noise that results from their<br />

manipulation <strong>in</strong> the hand is said to<br />

focus the m<strong>in</strong>d on the failures of human<br />

passions. The Nenju presented here<br />

are made from the materials of plastic<br />

toys used, broken and discarded by my<br />

children<br />

And it’s hard to know where any<br />

particular plastic product really<br />

orig<strong>in</strong>ates. A plastic toy might<br />

bestamped ‘Made <strong>in</strong> Ch<strong>in</strong>a’, but this<br />

only refers to a f<strong>in</strong>al manufactur<strong>in</strong>g<br />

38

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