岸かおる KISHI Kaoru
《spare-part》 2013年 布、ビーズ、糸、木粘土 10.8×10.8×7.5 cm 撮影： 田村政実
spare-part 2013 Fabric, Beads, Wood clay 10.8×10.8×7.5 cm Photo by TAMURA Masami
岸かおる
KISHI Kaoru
1956年 広島市生まれ。広島市在住、活動。
岸かおるは、京都工芸繊維大学で工業デザインを学び、卒業後すぐに結婚して3人の子どもを社会に出してのち、2009年に50代で居住地にある広島市立大学の大学院に入り直し、初めて活動し始めた異例に遅い出発の美術家である。しかしそれまでの主婦としての長い生活の中で培った料理や裁縫のスキルを活かした手法により、社会が期待する女性のあり方や生き方、人の生老病死の問題から、国家、イデオロギー、戦争、核開発、環境など、社会の諸問題に視野を開いている。
本展では、心臓移植という高度医療に対して、人間の生命の重さとその対価という問題を可視化するため、木目込みとビーズ刺繍による手の込んだ手法で実物大の様々な色彩や模様で彩られた美しい心臓のオブジェを10点出品した。その多くが今展のための新作である。
また《連》という3点組の作品は、同じく心臓を、女性の人生の節目である七五三の3歳、7歳と成人式の晴れ着の着物と帯、帯締めで作り、それぞれの年齢の女性の心臓の高さに合わせた展示台に設置した。これもまた伝統によって強いられる日本の女性の人生（自分の主婦としての半生の息苦しさ）に対して、異議を申し立てる作品である。美しい外観に惑わされて、彼女の作品の奥にある厳しい批判や苦痛を見過ごしてはならない。
小勝禮子「彼女たちの叫びとささやき―ヴァルネラブルな集合体は世界を変えたか？」、都美セレクショングループ展2019『彼女たちは叫ぶ、ささやく―ヴァルネラブルな集合体が世界を変える』展カタログ、エゴイメ・コレクティヴ、2020年より一部抜粋。
Born in Hiroshima, Japan in 1956. Lives and works in Hiroshima.
Taking a different path, Kishi Kaoru studied industrial design at the Kyoto Institute of Technology. She married soon after graduation, and raised three children. After she sent them off into society, while in her fifties, she resumed her studies at the Graduate School of Hiroshima City University in 2009, in the city in which she lived. This marked the start of her artistic activities; thus, the inception of her career was exceptionally late. Nonetheless, Kishi has opened her horizons to a variety of social issues, including how society expects women to act and to live; the four inevitable elements in life (birth, aging, sickness and death); nationhood; ideological differences; warfare; nuclear development; and the environment. In her works, she has adopted methods that fully utilize the skills involved in such tasks as cooking and sewing, which she cultivated during the many years she was a housewife.
In this exhibition, she aimed to visualize the problems involving the advanced medical treatment of heart transplantation in regard to the weight and value of a human life. Namely, she exhibited ten beautiful, life-sized, heart-shaped objects, each adorned with a variety of colors and patterns, through using the elaborate techniques of kimekomi (traditional method of tucking fabric into grooves) and bead embroidery. Many of them were new works she created for this exhibition.
In addition, she showed Ren, a set of three works for which also adopted the motif of a heart. Kishi created these works from kimonos, sashes, and strings used to hold up the sashes, which were originally made for celebrations. That is, the kimonos were for the Shichi-go-san festival for girls who had turned three and seven, and for the Coming-of-Age-Day ceremony for those who had turned twenty. In Japan, the ages of three, seven and twenty are considered traditional rites of passage for women. Kishi placed each of the three works on a pedestal, which was made to be at the height of the heart at those respective ages. These works also raised an objection to the rituals that have been forced on the lives of Japanese women by tradition (and to the oppression Kishi felt for half of her lifetime serving as a housewife). We must not be deceived by the beautiful appearances of her works and overlook the severe social criticism and sense of distress that exist in their depths.
Excerpt from Kokatsu Reiko, “The Shouts and Murmurs of Women－Did the Vulnerable Collective Change the World ?”, The Shouts and Murmurs of Women－the Vulnerable Collective Will Change the World (Exh.Cat.), egó eímai collective, 2020 (Translated by NANPEI Taeko)
更新された最新の情報は、作家のウェブサイトをご覧ください。
Please refer to the artist’s website for new updates.
https://kishikaoru.myportfolio.com/
《連》 2018年 着物、帯、志古貴、帯揚げ、帯締め、髪飾り（以上古着）、羊毛 インスタレーション サイズ可変 都美セレクション グループ展 2019 会場風景 東京都美術館 ギャラリーB 撮影：坂田峰夫
continuance 2018, Kimono, Sashes, Strings, Hair ornament (all used items), Wool wadding, Installation, Size variable Group Show of Contemporary Artists 2019, Tokyo Metropolitan Art Museum Gallery B, Photo by SAKATA Mineo
《connect》2012年 古靴下、詰め綿、単芯ビニールコード インスタレーション（サイズ可変）
connect 2012 Used socks, Cotton wadding, Vinyl cable, Installation, Size variable
《きのこ雲》2010年 お菓子、アクリルケース、写真、シール アクリルケース：12.5×40×40cm 写真：40×40cm お菓子： 10×12×12cm～3×7×7cm（最大〜最小）撮影：鹿田義彦
Nuclear cloud 2010 Confectionery, Acrylic case, Digital print, Sticker Acrylic case：12.5×40×40cm, Digital print：40×40cm Confectionaery: 10×12×12cm～3×7×7cm(max. to min.) Photo by SHIKADA Yoshihiko
